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https://oercommons.org/courseware/lesson/73087/overview	6 Bad Body Language Behaviors to Avoid 7 Body language tips to impress at your next job interview 8 Common interview questions and answers Ace Your Next Job Interview with These Tips dress+for+success How Following Up Can Help You Land the Job How to Make a Resume Website to Get an AWESOME Job (in 2020) How to research a company before a job interview How to tie a tie Job Interview Preparation Job Interview Simulation and Training - Mock Interview Interview Process Training Overview With our tutorial, we want to send everyone into the interview room (or potentially virtual interview room) prepared and confident. You know you have skills and talents to offer to the employer, you know you are the best fit for the position, so now the preparation you complete for that interview will ensure the employer knows it too. We break down the four phases of an interview process: Preparation, What to Wear, How to Present Your Best Self, and How to Follow Up. Introduction Far and away the best prize that life offers is the chance to work hard at work worth doing. —Theodore Roosevelt Pursuit of successful employment and a thriving career are still challenges that many adults face. The hardest part, aside from waiting for the call for an interview, is the interview itself! So many emotions surrounding that eventful day – what to wear, how to be prepared, how to sell yourself without overstating your abilities and talents. With our tutorial, we want to send everyone into the interview room (or potentially virtual interview room) prepared and confident. You know you have skills and talents to offer to the employer, you know you are the best fit for the position, so now the preparation you complete for that interview will ensure the employer knows it too. We break down the four phases of an interview process: Preparation, What to Wear, How to Present Your Best Self, and How to Follow Up. In following this simple outline, you will have the best opportunity to wow your future employer and solidify that you are the best candidate. Regardless of this being your 7th interview or your 37th, we want to provide you with the game plan for how to walk in with confidence. Lesson Objectives Included in this segment you will find resources for preparing yourself for an interview - including what to do to prepare, what to wear on the big day, and what to do immediately following. The segments are broken down as follows: - Researching the Company - How to Present Your Previous Work Credentials - Dressing for the Interview - After the Interview - Final Takeaways Photo by Markus Winkler on Unsplash Research the Company Hired candidates reported spending more time talking about company culture and the functions of the job with their interviewer (63 percent) than did the rejected candidates (47 percent). - SmartRecruiters Always enter an interview with knowledge about the company. You could be their newest employee, after all. Recruiters and interview panel members will be impressed with your knowledge and interest in the position. Employers want to know and feel that you are passionate and confident in your abilities to fit the position and there is no better way to get this across then by showing you know are fimilar with the company's mission, culture, customers and competitors. Learner Activity: Learners will be asked to select a company from Fortune’s 100 best companies to work for in 2020. This company has selected the learner for an interview. How do you prepare? Use this checklist to search the company you selected from Fortune’s list. Examples of your work Prior experience has a 55% chance of influencing the decision, while conversation skills have 49%, knowledge of the industry 41%, and culture fit 35%. - whattobecome.com Now the learners have researched their company and understand the company's mission, goals, customers and competitors. They can use this information to select relevant examples of their work and experiences. Prepare to share these experiences during the interview. What type of experiences should be included? Just like you’re using social media to find out about someone, so are your recruiters looking you up to learn more about you outside your resume. - whattobecome.com Socia media and google searches should be expected from recruiters and the company that is interviewing. Learners can use this to their advantage. Consider creating online portfolio. These online sites can expand on the resume and give examples of the experience the learner collected above. Learner Activity: Watch the resource video "How to Make a Resume Website to Get an AWESOME Job (in 2020)". Dress for the Interview Learners will take the Pre-Assessment. This is a basic pre-assessment to see what the learner already knows about the interview process. . Click here to take the PRE-ASSESSMENT "While your qualifications obviously matter most, your first impression with an employer is also vitally important. In fact, according to the Twin Group, 50% of interviewers think that a candidate can be eliminated for the position due to the way they dressed, acted or walked through the door." "A clean, polished look can be reassuring to prospective employers. Research the organization’s dress code policy and their company culture. Remember that an interview often requires more professional attire than you might wear after being hired." Learners will watch two videos, after each one the learners will discuss what the candidate is wearing and if it is appropriate to wear to an interview. What should the candidate change? Video 1 - Job Interview 1 Video 2 - Job Interview 2 Complete the videos and post at least 2 responses in chat. Business Casual vs. Business Formal Typically, business formal is a matching pants or skirt suit (often a dark color) with a button-down shirt and tie or a blouse. Business casual is more open ended. Think dress pants with a button-down shirt or a pencil skirt or dress pants with a blouse and a cardigan. Discuss the difference between these two types of dress. Why would it be important not to wear jeans to an interview? Answer in second discussion board. Well-chosen accessories (tie, scarf, etc.) can help you stand out and can add a splash of color. If you wear a tie, the knot should be centered under your chin. As for color/pattern, coordinate with the rest of your outfit so that it doesn’t clash. Ties with smaller patterns and darker colors look more authoritative and more conservative. If you plan to wear a skirt or dress, remember that you’ll be sitting for at least part of your interview. We recommend that your skirt be no more than 2 inches above the knee. When dressing for an interview, it best to dress conservatively. Keep in mind that all interviews start with a bang! So make sure you’re ready when you step into the room and impress them from the start. Watch the video below. Learner Activity: look online and create a shopping cart from a store of your choice. Pick what you would wear to your interview and submit for your final assessment. During the Interview Body Language Did you know that your body language speaks to people before you say a single word? How you stand, how you sit, how you cross your arms, how you cross your legs, all tell the interviewer about you. In this section, we will look at some do’s and don’ts of body language during an interview. Here are some researched tips to remember for your next job interview. - Sit up straight and tall all the way back in your seat versus slumping over or slouching. You want to show that you are interested in what the speaker has to say. Research shows that you can lean forward as a way of showing engagement. 2. Eye Contact- Research varies slightly with eye contact; however, the consensus is to not avoid it but look at the direction of the eyes between the eyes, nose and mouth area. 3. Using hand gestures while speaking as another way of showing engagement in the conversation. 4. Nod your head while speaking is another way of showing engagement in the conversation. 5. Lean in during the conversation to show attentiveness and engagement with the interviewer. Interview Questions Now that you are aware of your body language during the interview, lets look at what type of questions to expect during the interview. There are different behavioral interview questions that the interviewer will ask during the interview. The organization asks these questions to see how compatible you are with their company. The questions cover areas of teamwork, time-management, communication, and motivation and values. So be prepared to examples of specific situations that you have been in where you had to use certain skills. One method research shows to assist you with answering these questions is to use the STAR Interview Method. STAR is an acronym which stands for situation, task, action, result. Using this acronym when answering behavioral interview questions is a way of organizing your thoughts while providing a detailed specific answer. Let’s look at what each letter means. S- situation: establish the scene while giving important details of the example. T- task: describe your responsibilities in that situation A- action: explain the actions taken to address the situation R- results: share the outcomes your actions achieved Below is a list of common sample behavioral questions you should be prepared to answer. Teamwork \| Time management skills \| Communication Skills \| Motivation and Values \| After the Interview You’ve just completed the interview. You nailed it! Now what? Something that may seem like a relic from days of yore that you want to be sure to partake of during your interview process is a timely and sincere follow up thank you. Whether it be a quick email or a handwritten note (still acceptable and appropriate, depending on several factors), you want to make sure you don’t overlook this business etiquette must-do. In the fast-paced and virtual world of today, this five minute follow up will help to leave a positive lasting impression. This shows you are sincerely interested, you value your interviewer’s time, and your follow through is on-point. How you dress and how you answer questions (and ask!) during the interview process are critical to convey your superior positioning to fulfill the expectations outlined in the job posting. The final touch, though, is to show the interviewer(s) your interpersonal skills and your emotional intelligence. Employers are looking for candidates with the business acumen to fulfill the daily work requirements, but the other daily requirements of a job that are more understated and not something clearly expressed in a resume are the people skills and soft skills that a candidate brings to the work environment. Even in a virtual working environment, interpersonal relationships are key to any company successes, and creating valuable lasting personal connections is a must. A solid way to convey your social competence is through your thank you follow up. Photo by Aaron Burden on Unsplash Final Takeaways Now that you have prepped for the big day, we want to leave you with some closing thoughts about the process as a whole. While building your foundation for success, it is important to see how each piece of the process is bringing out your best opportunities to showcase your skills. The series of steps we've outlined show you just how important it is to follow through with your whole self as you maneuver through the application and interviewing process. From on the onset of the application process, keep in mind that a prospective employer is looking for the whole candidate to fill their position - someone with the appropriate educational and/or professional experience, as well as someone who has the soft skills to relate with people, work in potential team environments and contribute positively to achieving goals from the company perspective. As you pursue your next career move, know that you have many tools at your disposal to help you feel your best in this exciting endeavor. Photo by Cytonn Photography on Unsplash	oercommons	2025-03-18T00:34:17.376697	Assessment	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/73087/overview", "title": "Interview Process Training", "author": "Activity/Lab" }
https://oercommons.org/courseware/lesson/100287/overview	Time Management Resource Overview Time management is crucial to college success. The attached template is a tool student can utilize to plan out their time in advance, or to track how they are spending their time. Time Management Resource Attached is a Time Management Excel Worksheet students can utilize to plan their Day, Week, Month as well as a To-Do-List template.	oercommons	2025-03-18T00:34:17.394425	01/27/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/100287/overview", "title": "Time Management Resource", "author": "Margaret Kingori" }
https://oercommons.org/courseware/lesson/126311/overview	Self-Assessment and Review for Human Anatomy Overview This compilation of 'Question and Answer' (Q&A) in the format of 'True or False' (T/F) sentence and 'Single Best Answer Question' (SBAQ), is a quick review and self-assessment for both pre-clinical and clinical students of medical, paramedical, and allied health sciences. TITLE: ABDOMINAL WALL, INGUINAL CANAL, AND PERITONEUM Q(01) \| Abdomen is the part of the trunk between the thorax and the pelvis. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(02) \| Abdominal cavity is bounded by the \| \| ANSWER \| A. thoracic diaphragm superiorly and pelvic diaphragm inferiorly. \| B. thoracic diaphragm superiorly and pelvic inlet inferiorly. \| Q(03) \| Select which boundary of the abdominal cavity that is not related to any muscle. \| \| ANSWER \| A. Anterior border \| B. Inferior border \| \| C. Posterior border \| D. Superior border \| Q(04) \| The following structures are associated with the abdominal cavity EXCEPT \| \| ANSWER \| A. abdominal viscera. \| B. lumbar vertebrae. \| \| C. pericardium. \| D. peritoneum. \| Q(05) \| Abdominal cavity is conventionally divided into four quadrants or nine regions. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(06) \| The following vertical lines are associated with either four quadrants or nine regions of the abdominal cavity EXCEPT \| \| ANSWER \| A. midclavicular line. \| B. midsternal line. \| \| C. parasternal line. \| \| Q(07) \| The horizontal plane that is associated with the four quadrants of abdominal cavity is the \| \| ANSWER \| A. subcostal plane. \| B. transpyloric plane. \| \| C. transtubercular plane. \| D. transumbilical plane. \| Q(08) \| The horizontal plane that is associated with the L1 vertebral level is the \| \| ANSWER \| A. subcostal plane. \| B. transpyloric plane. \| \| C. transtubercular plane. \| D. transumbilical plane. \| Q(09) \| The following regions of abdominal cavity are located at the centre EXCEPT the \| \| ANSWER \| A. epigastric region. \| B. hypochondriac region. \| \| C. hypogastric region. \| \| Q(10) \| The following structures are contents in the right upper quadrant of the abdominal cavity EXCEPT the \| \| ANSWER \| A. gallbladder. \| B. head of pancreas. \| \| C. pylorus part of stomach. \| D. spleen. \| Q(11) \| The following structure is a content in the left lower quadrant of the abdominal cavity: \| \| ANSWER \| A. Caecum \| B. ileum \| \| C. Sigmoid colon \| D. Vermiform appendix \| Q(12) \| The following structure is a content in the epigastric region of the abdominal cavity: \| \| ANSWER \| A. Gallbladder \| B. Spleen \| \| C. Stomach \| \| Q(13) \| The following structure is a content in the right inguinal region of the abdominal cavity: \| \| ANSWER \| A. Rectum \| B. Sigmoid colon \| \| C. Vermiform appendix \| \| Q(14) \| The abdominal wall can be subdivided into the anterolateral abdominal wall and the posterior abdominal wall. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(15) \| The anterolateral abdominal wall is bounded superiorly by the costal margin and the xiphoid process of the sternum. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(16) \| From superficial to deep, the layers of anterolateral abdominal wall are the skin, subcutaneous tissue, muscles and fascia, \| \| ANSWER \| A. extraperitoneal tissue, transversalis fascia, and parietal peritoneum. \| B. extraperitoneal tissue, parietal peritoneum, and transversalis fascia. \| \| C. transversalis fascia, extraperitoneal tissue, and parietal peritoneum. \| \| Q(17) \| Langer's lines of the skin in the anterolateral abdominal wall runs vertically. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(18) \| Below the level of umbilicus, subcutaneous tissue of anterolateral abdominal wall is further divided into two layers. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(19) \| Superficial fatty layer of superficial fascia is called the \| \| ANSWER \| A. Buck's fascia. \| B. Camper's fascia. \| \| C. Colles' fascia. \| D. Dartos fascia \| Q(20) \| Deep membranous layer of superficial fascia is called the Scarpa's fascia. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(21) \| Scarpa's fascia continues inferiorly into the perineal region as the Colles' fascia. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(22) \| The following are muscles of the anterolateral abdominal wall EXCEPT \| \| ANSWER \| A. external oblique. \| B. internal oblique. \| \| C. quadratus lumborum. \| D. transversus abdominis. \| Q(23) \| Examples of vertical muscles in the anterior abdominal wall are rectus abdominis and pyramidalis. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(24) \| The following structure forms the inguinal ligament: \| \| ANSWER \| A. Lower border of external oblique aponeurosis \| B. Lower border of internal oblique aponeurosis \| \| C. Lower border of transversus abdominis aponeurosis \| \| Q(25) \| The Poupart's ligament is attached to the \| \| ANSWER \| A. anterior superior iliac spine laterally and pubic symphysis medially. \| B. anterior superior iliac spine laterally and pubic tubercle medially. \| Q(26) \| This structure arises from the medial end of inguinal ligament and extends horizontally backwards to the pectineal line: \| \| ANSWER \| A. Cooper's ligament \| B. Gimbernat's ligament \| Q(27) \| Pectineal ligament is continuous with the lacunar ligament and extends laterally along the pecten pubis. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(28) \| Falx inguinalis is made up of the fibres of the aponeuroses of the \| \| ANSWER \| A. external oblique and internal oblique. \| B. internal oblique and transversus abdominis. \| Q(29) \| Lateral to the conjoint tendon, there is interfoveolar ligament. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(30) \| iliopubic tract is a thickened inferior margin of transversalis fascia that runs parallel and deep to inguinal ligament \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(31) \| The neurovascular plane of the abdominal wall lies between the \| \| ANSWER \| A. external oblique and internal oblique muscles. \| B. internal oblique and transversus abdominis muscles. \| Q(32) \| Rectus abdominis is a long-paired strap-like muscle which is separated in the midline by the \| \| ANSWER \| A. linea alba. \| B. linea semicircularis. \| \| C. linea semilunaris. \| \| Q(33) \| White line is a strong midline fibrous structure which is firmly attached to the xiphoid process superiorly and the \| \| ANSWER \| A. pubic symphysis inferiorly. \| B. pubic tubercle inferiorly. \| Q(34) \| Rectus abdominis muscle is wider above and narrows below. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(35) \| When rectus abdominis muscle contracts, its lateral margin forms a curved ridge that can be seen and is termed the \| \| ANSWER \| A. linea alba. \| B. linea semilunaris. \| \| C. linea semicircularis. \| \| Q(36) \| Spigelian line extends from the tip of the ninth costal cartilage to the pubic tubercle. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(37) \| The following are typical locations where the tendinous intersections of rectus abdominis muscle can be found EXCEPT \| \| ANSWER \| A. at the level of the xiphoid process. \| B. at the level of the umbilicus. \| \| C. between the level of the xiphoid process and the level of the umbilicus. \| D. below the level of the umbilicus. \| Q(38) \| Pyramidalis muscle is a small triangular muscle that tenses the linea alba and is supplied by the subcostal nerve. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(39) \| Innervation of flat muscles of anterolateral abdominal wall is by the anterior rami of lower six thoracic spinal nerves. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(40) \| The following nerves are associated with the root value of L1 EXCEPT the \| \| ANSWER \| A. iliohypogastric nerve. \| B. ilioinguinal nerve. \| \| C. subcostal nerve. \| \| Q(41) \| The primary blood vessels of the anterolateral abdominal wall are the superior and inferior epigastric vessels, \| \| ANSWER \| A. superficial and deep circumflex iliac vessels \| B. musculophrenic vessels \| \| C. all of the above answers \| \| Q(42) \| Lymphatic drainage of the anterolateral abdominal wall are through the superficial and deep lymphatic vessels. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(43) \| The skin of the anterior abdominal wall below the umbilicus drains into the \| \| ANSWER \| A. axillary lymph nodes. \| B. superficial inguinal lymph nodes. \| Q(44) \| The muscles of the posterior abdominal wall include the quadratus lumborum, psoas major, psoas minor, and the \| \| ANSWER \| A. erector spinae. \| B. iliacus. \| Q(45) \| Fasciae of the posterior abdominal wall include psoas fascia and thoracolumbar fascia. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(46) \| Thoracolumbar fascia consists of the three layers; anterior, middle and posterior. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(47) \| Rectus sheath is an aponeurotic tendinous sheath enclosing the \| \| ANSWER \| A. external oblique muscle. \| B. internal oblique muscle. \| \| C. rectus abdominis muscle. \| D. transversus abdominis muscle. \| Q(48) \| Rectus sheath has anterior and posterior walls. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(49) \| Anterior wall of rectus sheath is complete, covering the rectus abdominis muscle from end to end. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(50) \| Posterior wall of rectus sheath is incomplete, being deficient above the costal margin and below the arcuate line. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(51) \| Above the level of costal margin, anterior wall of rectus sheath is formed by the aponeurosis of \| \| ANSWER \| A. external oblique muscle. \| B. internal oblique muscle. \| \| C. transversus abdominis muscle. \| \| Q(52) \| Between costal margin and arcuate line, posterior wall of rectus sheath is formed by the fusion of aponeurosis of \| \| ANSWER \| A. external oblique and anterior lamina of internal oblique aponeurosis. \| B. transversus abdominis and posterior lamina of internal oblique aponeurosis. \| Q(53) \| Below the level of arcuate line, anterior wall of rectus sheath is formed by the aponeuroses of all three flat muscles. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(54) \| Contents of the rectus sheath include \| \| ANSWER \| A. superior epigastric vessels \| B. inferior epigastric vessels \| \| C. terminal parts of lower six thoracic nerves \| D. all of the above answers \| Q(55) \| The midline incision is made through the linea alba. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(56) \| The following are names of surgical incision that are being used for appendectomies EXCEPT \| \| ANSWER \| A. Battle incision. \| B. Kocher's incision. \| \| C. Lanz incision. \| D. McBurney incision. \| Q(57) \| McBurney point lies one-third of the distance laterally on a line drawn from the umbilicus to the right anterior superior iliac spine (ASIS). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(58) \| Subcostal incision is a right upper quadrant incision made for open cholecystectomy. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(59) \| Paramedian incision allows access to lateral structures such as the kidneys, adrenals, and spleen. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(60) \| This surgical incision is the extension of the McBurney incision: \| \| ANSWER \| A. Pfannenstiel incision \| B. Rutherford Morrison incision \| Q(61) \| Pfannenstiel incision commonly used for Caesarean section or abdominal hysterectomy. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(62) \| Inguinal region is the area of junction between the anterior abdominal wall and the anterior aspect of the thigh. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(63) \| Inguinal region or groin extends between the anterior superior iliac spine (ASIS) and the \| \| ANSWER \| A. pubic symphysis. \| B. pubic tubercle. \| Q(64) \| Inguinal region is clinically and anatomically important because \| \| ANSWER \| A. structures exit and enter the abdominal cavity. \| B. exit and entrance pathways for structures are potential sites of herniation. \| \| C. all of the above answers. \| \| Q(65) \| Halfway between the anterior superior iliac spine (ASIS) and the pubic symphysis is the \| \| ANSWER \| A. mid-inguinal point. \| B. midpoint of the inguinal ligament. \| Q(66) \| Halfway between the anterior superior iliac spine (ASIS) and the pubic tubercle is the \| \| ANSWER \| A. mid-inguinal point. \| B. midpoint of the inguinal ligament. \| Q(67) \| The femoral pulse can be palpated at the \| \| ANSWER \| A. mid-inguinal point. \| B. midpoint of the inguinal ligament. \| Q(68) \| The opening to the inguinal canal is located just above this point: \| \| ANSWER \| A. Mid-Inguinal point \| B. Midpoint of the inguinal ligament \| Q(69) \| Inguinal canal is an oblique intermuscular slit in the lower part of the anterior abdominal wall. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(70) \| Inguinal canal is about 4 cm long lying above the medial half of the inguinal ligament. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(71) \| Inguinal canal is directed \| \| ANSWER \| A. downward, forward, and laterally. \| B. downward, forward, and medially. \| Q(72) \| Inguinal canal has two openings and begins at the \| \| ANSWER \| A. deep inguinal ring. \| B. superficial inguinal ring. \| Q(73) \| This inguinal ring lies about 1.25 cm above the midpoint of the inguinal ligament: \| \| ANSWER \| A. Deep inguinal ring \| B. Superficial inguinal ring \| Q(74) \| This inguinal ring is an oval opening in the transversalis fascia: \| \| ANSWER \| A. Deep inguinal ring \| B. Superficial inguinal ring \| Q(75) \| This inguinal ring is a triangular gap in the external oblique aponeurosis and lies superolateral to the pubic tubercle: \| \| ANSWER \| A. Deep inguinal ring \| B. Superficial inguinal ring \| Q(76) \| The following structures form the anterior wall of inguinal canal (in whole extent) EXCEPT \| \| ANSWER \| A. external oblique aponeurosis. \| B. internal oblique muscle fibres. \| \| C. skin. \| D. superficial fascia. \| Q(77) \| The following structure forms the posterior wall of inguinal canal (in whole extent): \| \| ANSWER \| A. Conjoint tendon \| B. Reflected part of the inguinal ligament \| \| C. Transversalis fascia \| \| Q(78) \| The roof of inguinal canal is formed by the lower arched fibres of the \| \| ANSWER \| A. external oblique and internal oblique muscles. \| B. internal oblique and transversus abdominis muscles. \| Q(79) \| The following structure forms the floor of inguinal canal (in whole extent): \| \| ANSWER \| A. Inguinal ligament \| B. Lacunar ligament \| Q(80) \| Spermatic cord in male and round ligament of the uterus in female is present throughout the extent of the inguinal canal. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(81) \| ilioinguinal nerve enter the inguinal canal about midway and leaves at the superficial inguinal ring. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(82) \| This type of inguinal hernia is where the peritoneal sac enters the inguinal canal through the deep inguinal ring: \| \| ANSWER \| A. Direct inguinal hernia \| B. Indirect inguinal hernia \| Q(83) \| This type of inguinal hernia occurs lateral to the inferior epigastric artery: \| \| ANSWER \| A. Direct inguinal hernia \| B. Indirect inguinal hernia \| Q(84) \| This type of inguinal hernia is where the peritoneal sac enters the inguinal canal through its posterior wall: \| \| ANSWER \| A. Direct inguinal hernia \| B. Indirect inguinal hernia \| Q(85) \| This type of inguinal hernia occurs medial to the inferior epigastric artery: \| \| ANSWER \| A. Direct inguinal hernia \| B. Indirect inguinal hernia \| Q(86) \| Indirect inguinal hernia is due to partial or complete patency of processus vaginalis (an invagination of peritoneum). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(87) \| Direct inguinal hernia is due to weakening in the abdominal musculature. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(88) \| Inguinal triangle is also known as the \| \| ANSWER \| A. Hesselbach's triangle. \| B. medial inguinal fossa. \| \| C. all of the above answers. \| \| Q(89) \| Inguinal triangle is located within the inferomedial aspect of the abdominal wall. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(90) \| Inferior border of the inguinal triangle is formed by the \| \| ANSWER \| A. inferior epigastric vessels. \| B. inguinal ligament. \| \| C. lateral border of the rectus abdominis muscle. \| \| Q(91) \| Medial border of the inguinal triangle is formed by the \| \| ANSWER \| A. inferior epigastric vessels. \| B. inguinal ligament. \| \| C. lateral border of the rectus abdominis muscle. \| \| Q(92) \| Lateral border of the inguinal triangle is formed by the \| \| ANSWER \| A. inferior epigastric vessels. \| B. inguinal ligament. \| \| C. lateral border of the rectus abdominis muscle. \| \| Q(93) \| Abdominal cavity is lined by peritoneum, a continuous serous membrane in which the lining of peritoneum is called the \| \| ANSWER \| A. endothelium. \| B. epithelium. \| \| C. mesothelium. \| \| Q(94) \| Peritoneum consists of two layers that are separated from each other by a potential space called the \| \| ANSWER \| A. pericardial cavity. \| B. peritoneal cavity. \| \| C. pleural cavity. \| \| Q(95) \| This layer of peritoneum lines the internal surface of the abdominopelvic walls: \| \| ANSWER \| A. Parietal layer of peritoneum \| B. Visceral layer of peritoneum \| Q(96) \| This layer of peritoneum is derived from the splanchnopleuric layer of the lateral plate mesoderm: \| \| ANSWER \| A. Parietal layer of peritoneum \| B. Visceral layer of peritoneum \| Q(97) \| This layer of peritoneum is innervated by somatic nerves and therefore is sensitive to pain due to prick and cut: \| \| ANSWER \| A. Parietal layer of peritoneum \| B. Visceral layer of peritoneum \| Q(98) \| Peritoneal folds (peritoneal reflections) are classified into the \| \| ANSWER \| A. omenta. \| B. mesenteries. \| \| C. peritoneal ligaments. \| D. all of the above answers. \| Q(99) \| Greater omentum is a peritoneal fold connecting the stomach with the \| \| ANSWER \| A. liver. \| B. transverse colon. \| Q(100) \| This omentum is double layer of peritoneum that extends from liver to lesser curvature of stomach and 1st part of duodenum \| \| ANSWER \| A. Greater omentum \| B. Lesser omentum \| Q(101) \| This omentum is made up of 4 layers of peritoneum: \| \| ANSWER \| A. Greater omentum \| B. Lesser omentum \| Q(102) \| Greater omentum is derived from \| \| ANSWER \| A. dorsal mesogastrium. \| B. ventral mesogastrium. \| Q(103) \| Lesser omentum is derived from \| \| ANSWER \| A. dorsal mesogastrium. \| B. ventral mesogastrium. \| Q(104) \| Contents of the greater omentum include \| \| ANSWER \| A. adipose tissue. \| B. aggregation of macrophages. \| \| C. right and left gastroepiploic vessels. \| D. all of the above answers. \| Q(105) \| Hepatogastric ligament and hepatoduodenal ligament are associated with the lesser omentum. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(106) \| The following are peritoneal ligaments that are associated with the greater omentum: \| \| ANSWER \| A. Gastrocolic ligament. \| B. Gastrophrenic ligament. \| \| C. Gastrosplenic ligament. \| D. All of the above answers. \| Q(107) \| Midgut and hindgut possess only the dorsal mesentery. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q(108) \| Dorsal mesentery will form the mesentery, mesoappendix, transverse mesocolon, and sigmoid mesocolon. \| \| ANSWER \| A. TRUE \| B. FALSE \|	oercommons	2025-03-18T00:34:17.640492	Ahmad Ruzain	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/126311/overview", "title": "Self-Assessment and Review for Human Anatomy", "author": "Assessment" }
https://oercommons.org/courseware/lesson/128308/overview	Self-Assessment and Review for Human Anatomy (2) Overview This compilation of 'Question and Answer' (Q&A) in the format of 'True or False' (T/F) sentence and 'Single Best Answer Question' (SBAQ), is a quick review and self-assessment for both pre-clinical and clinical students of medical, paramedical, and allied health sciences. TITLE: ORBIT AND OCULAR ADNEXA Q (1) \| The following neurocranium constitutes the bony framework of the orbit EXCEPT the \| \| ANSWER \| A. frontal bone. \| B. temporal bones. \| \| C. sphenoid bone. \| D. ethmoid bone. \| Q (2) \| The viscerocranium that constitutes the bony framework of the orbit are lacrimal bones, maxilla bones, palatine bones, and \| \| ANSWER \| A. nasal bones. \| B. inferior nasal concha bones. \| \| C. vomer bone. \| D. zygomatic bones. \| Q (3) \| Structure(s) that is(are) located above the orbit: \| \| ANSWER \| A. Anterior cranial fossa and frontal sinus \| B. Ethmoid sinuses (or ethmoid air cells) and sphenoid sinus \| \| C. Maxillary sinus \| D. Temporal fossa and middle cranial fossa \| Q (4) \| Structure(s) that is(are) located medial to the orbit: \| \| ANSWER \| A. Anterior cranial fossa and frontal sinus \| B. Ethmoid sinuses (or ethmoid air cells) and sphenoid sinus \| \| C. Maxillary sinus \| D. Temporal fossa and middle cranial fossa \| Q (5) \| Structure(s) that is(are) located below the orbit: \| \| ANSWER \| A. Anterior cranial fossa and frontal sinus \| B. Ethmoid sinuses (or ethmoid air cells) and sphenoid sinus \| \| C. Maxillary sinus \| D. Temporal fossa and middle cranial fossa \| Q (6) \| Structure(s) that is(are) located lateral to the orbit: \| \| ANSWER \| A. Anterior cranial fossa and frontal sinus \| B. Ethmoid sinuses (or ethmoid air cells) and sphenoid sinus \| \| C. Maxillary sinus \| D. Temporal fossa and middle cranial fossa \| Q (7) \| Each orbit has a base, superior wall (or roof), medial wall, inferior wall (or floor), lateral wall, and an apex. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (8) \| The base of the orbit is directed \| \| ANSWER \| A. anterolaterally. \| B. posteromedially. \| Q (9) \| The base of the orbit is marked by the orbital margin (or orbital rim). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (10) \| The superior orbital (or supraorbital) margin is formed by the \| \| ANSWER \| A. frontal bone. \| B. frontal and maxilla bones. \| \| C. maxilla and zygomatic bones. \| D. zygomatic and frontal bones. \| Q (11) \| The medial orbital margin is formed by the \| \| ANSWER \| A. frontal bone. \| B. frontal and maxilla bones. \| \| C. maxilla and zygomatic bones. \| D. zygomatic and frontal bones. \| Q (12) \| The inferior orbital (or infraorbital) margin is formed by the \| \| ANSWER \| A. frontal bone. \| B. frontal and maxilla bones. \| \| C. maxilla and zygomatic bones. \| D. zygomatic and frontal bones. \| Q (13) \| The lateral orbital margin is formed by the \| \| ANSWER \| A. frontal bone. \| B. frontal and maxilla bones. \| \| C. maxilla and zygomatic bones. \| D. zygomatic and frontal bones. \| Q (14) \| The orbital margin leads back to the orbital wall that is consist of neurocranium only or combination of neurocranium and viscerocranium. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (15) \| The superior wall (or roof) of the orbit is formed by the \| \| ANSWER \| A. frontal and sphenoid bones. \| B. sphenoid, ethmoid, lacrimal, and maxilla bones. \| \| C. maxilla, palatine, and zygomatic bones. \| D. zygomatic and sphenoid bones. \| Q (16) \| The medial wall of the orbit is formed by the \| \| ANSWER \| A. frontal and sphenoid bones. \| B. sphenoid, ethmoid, lacrimal, and maxilla bones. \| \| C. maxilla, palatine, and zygomatic bones. \| D. zygomatic and sphenoid bones. \| Q (17) \| The inferior wall (or floor) of the orbit is formed by the \| \| ANSWER \| A. frontal and sphenoid bones. \| B. sphenoid, ethmoid, lacrimal, and maxilla bones. \| \| C. maxilla, palatine, and zygomatic bones. \| D. zygomatic and sphenoid bones. \| Q (18) \| The lateral wall of the orbit is formed by the \| \| ANSWER \| A. frontal and sphenoid bones. \| B. sphenoid, ethmoid, lacrimal, and maxilla bones. \| \| C. maxilla, palatine, and zygomatic bones. \| D. zygomatic and sphenoid bones. \| Q (19) \| Feature(s) that is(are) related to the superior wall (or roof) of the orbit: \| \| ANSWER \| A. Trochlear fovea (or notch, spine) and fossa for lacrimal gland \| B. Fossa for lacrimal sac and lacrimal groove (or sulcus) \| \| C. Infraorbital groove and canal \| D. Whitnall’s tubercle \| Q (20) \| Feature(s) that is(are) related to the medial wall of the orbit: \| \| ANSWER \| A. Trochlear fovea (or notch, spine) and fossa for lacrimal gland \| B. Fossa for lacrimal sac and lacrimal groove (or sulcus) \| \| C. Infraorbital groove and canal \| D. Whitnall’s tubercle \| Q (21) \| Feature(s) that is(are) related to the inferior wall (or floor) of the orbit: \| \| ANSWER \| A. Trochlear fovea (or notch, spine) and fossa for lacrimal gland \| B. Fossa for lacrimal sac and lacrimal groove (or sulcus) \| \| C. Infraorbital groove and canal \| D. Whitnall’s tubercle \| Q (22) \| Feature(s) that is(are) related to the lateral wall of the orbit: \| \| ANSWER \| A. Trochlear fovea (or notch, spine) and fossa for lacrimal gland \| B. Fossa for lacrimal sac and lacrimal groove (or sulcus) \| \| C. Infraorbital groove and canal \| D. Whitnall’s tubercle \| Q (23) \| The thinnest wall of the orbit is the \| \| ANSWER \| A. superior wall (or roof). \| B. medial wall. \| \| C. inferior wall (or floor). \| D. lateral wall. \| Q (24) \| The thickest and the strongest wall of the orbit is the \| \| ANSWER \| A. superior wall (or roof). \| B. medial wall. \| \| C. inferior wall (or floor). \| D. lateral wall. \| Q (25) \| The apex of the orbit is directed \| \| ANSWER \| A. anterolaterally. \| B. posteromedially. \| Q (26) \| The large anterior opening of the orbit bordered by a bone edge is called the orbital opening (or orbital aditus). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (27) \| The following are posterior openings in the orbital cavity EXCEPT the \| \| ANSWER \| A. superior orbital fissure. \| B. inferior orbital fissure. \| \| C. optic canal. \| D. nasolacrimal canal. \| Q (28) \| The orbital opening (or orbital aditus) is related to the \| \| ANSWER \| A. base of the orbit. \| B. apex of the orbit. \| Q (29) \| The optic canal is related to the \| \| ANSWER \| A. base of the orbit. \| B. apex of the orbit. \| Q (30) \| The superior orbital fissure which is located in between the lateral wall and the roof of the orbit, opens into the \| \| ANSWER \| A. middle cranial fossa. \| B. pterygopalatine and infratemporal fossae. \| Q (31) \| The inferior orbital fissure which is located in between the lateral wall and the floor of the orbit, opens into the \| \| ANSWER \| A. middle cranial fossa. \| B. pterygopalatine and infratemporal fossae. \| Q (32) \| Two small openings in the medial wall of the orbit are the \| \| ANSWER \| A. anterior and posterior ethmoidal foramina. \| B. zygomaticotemporal and zygomaticofacial foramina. \| Q (33) \| Two small openings in the lateral wall of the orbit are the \| \| ANSWER \| A. anterior and posterior ethmoidal foramina. \| B. zygomaticotemporal and zygomaticofacial foramina. \| Q (34) \| The supraorbital foramen (or notch) is located in the \| \| ANSWER \| A. frontal bone. \| B. maxilla bone. \| Q (35) \| The infraorbital foramen is located in the \| \| ANSWER \| A. frontal bone. \| B. maxilla bone. \| Q (36) \| The orbit is lined with the periorbita which is the periosteum of the orbit. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (37) \| The periorbita is continuous at the optic canal and the superior orbital fissure with the \| \| ANSWER \| A. periosteal layer of the dura mater. \| B. pericranium. \| Q (38) \| The periorbita is continuous over the orbital margins and through the inferior orbital fissure with the \| \| ANSWER \| A. periosteal layer of the dura mater. \| B. pericranium. \| Q (39) \| The periorbita is continuous with the \| \| ANSWER \| A. fascial sheaths of the extra-ocular muscles. \| B. fascial sheath of the eyeball (or fascia bulbi, Tenon’s capsule). \| \| C. orbital septa. \| D. all of the above answers \| Q (40) \| The fascial sheath of the eyeball (or fascia bulbi, Tenon’s capsule) separates the eyeball from the orbital fat. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (41) \| From superficial to deep, the layers of the eyelids (or palpebrae) are the skin, \| \| ANSWER \| A. loose connective tissue, palpebral part of orbicularis oculi, tarsal plates with orbital septum, and palpebral part of conjunctiva. \| B. palpebral part of orbicularis oculi, tarsal plates with orbital septum, palpebral part of conjunctiva, and loose connective tissue. \| \| C. tarsal plates with orbital septum, palpebral part of conjunctiva, loose connective tissue, and palpebral part of orbicularis oculi. \| D. palpebral part of conjunctiva, loose connective tissue, palpebral part of orbicularis oculi, and tarsal plates with orbital septum. \| Q (42) \| The upper eyelid is larger and more mobile than the lower eyelid. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (43) \| The upper eyelid contains the aponeurosis of levator palpebrae superioris. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (44) \| The palpebral fissure is a transverse opening that lies between the free margins of the upper and lower eyelids, which join at their extremities (termed canthi or palpebral commissures). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (45) \| The medial canthus or the inner canthus is also called the \| \| ANSWER \| A. nasal canthus. \| B. temporal canthus. \| Q (46) \| The lateral canthus or the outer canthus is also called the \| \| ANSWER \| A. nasal canthus. \| B. temporal canthus. \| Q (47) \| The medial canthus is separated from the eyeball by the lacrimal lake which contains the lacrimal caruncle. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (48) \| The upper eyelashes are longer and more numerous than the lower eyelashes. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (49) \| The superior and inferior tarsal plates (or tarsi) are dense fibrous tissue that are related to both upper and lower eyelids that provide support and determine eyelid form. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (50) \| The superior tarsus is larger than the inferior tarsus. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (51) \| The following ligament(s) is(are) located in the eyelids: \| \| ANSWER \| A. Medial and palpebral ligaments (or canthal ligaments) \| B. Medial and lateral check ligaments (or Mauchart’s ligaments) \| \| C. Suspensory ligament of the eye (or Lockwood’s ligament) \| D. Suspensory ligament of the lacrimal gland (or Whitnall’s ligament) \| Q (52) \| The suspensory ligament of the lens is also called the ciliary zonule (of Zinn). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (53) \| Apart from the suspensory ligament of the eye (or Lockwood’s ligament), the following are structures which are also attached to the Whitnall’s tubercle EXCEPT the \| \| ANSWER \| A. lateral horn of the levator aponeurosis. \| B. lateral canthal tendon. \| \| C. check ligament of the lateral rectus muscle. \| D. check ligament of the medial rectus muscle. \| Q (54) \| Feature(s) that is(are) related to the conjunctiva: \| \| ANSWER \| A. Palpebral and bulbar parts \| B. Superior and inferior fornices \| \| C. Conjunctival sac \| D. All of the above answers \| Q (55) \| The following are regions that are related to the palpebral part of conjunctiva: \| \| ANSWER \| A. Marginal, tarsal, and orbital \| B. Bulbar and limbal \| Q (56) \| The following are regions that are related to the bulbar part of conjunctiva: \| \| ANSWER \| A. Marginal, tarsal, and orbital \| B. Bulbar and limbal \| Q (57) \| The following are the voluntary muscles in the orbit: \| \| ANSWER \| A. Levator palpebrae superioris, superior rectus, medial rectus, inferior rectus, lateral rectus, superior oblique, and inferior oblique \| B. Superior tarsal, inferior tarsal, and orbitalis \| \| C. Ciliary muscle (or ciliaris), pupillary sphincter muscle (or sphincter pupillae), and pupillary dilator muscle (or dilator pupillae) \| \| Q (58) \| The following are the involuntary muscles in the orbit: \| \| ANSWER \| A. Levator palpebrae superioris, superior rectus, medial rectus, inferior rectus, lateral rectus, superior oblique, and inferior oblique \| B. Superior tarsal, inferior tarsal, and orbitalis \| \| C. Ciliary muscle (or ciliaris), pupillary sphincter muscle (or sphincter pupillae), and pupillary dilator muscle (or dilator pupillae) \| \| Q (59) \| The following are the involuntary muscles within the eyeball (or intrinsic ocular muscles, intra-ocular muscles): \| \| ANSWER \| A. Levator palpebrae superioris, superior rectus, medial rectus, inferior rectus, lateral rectus, superior oblique, and inferior oblique \| B. Superior tarsal, inferior tarsal, and orbitalis \| \| C. Ciliary muscle (or ciliaris), pupillary sphincter muscle (or sphincter pupillae), and pupillary dilator muscle (or dilator pupillae) \| \| Q (60) \| The following are considered the eyelid muscles: \| \| ANSWER \| A. Palpebral part of orbicularis oculi \| B. Levator palpebrae superioris \| \| C. Superior tarsal (or Muller’s muscle) \| D. All of the above answers \| Q (61) \| The following are the voluntary extra-ocular muscles that move the eyeball: \| \| ANSWER \| A. Superior rectus, medial rectus, inferior rectus, lateral rectus, superior oblique, and inferior oblique \| B. Superior tarsal, inferior tarsal, and orbitalis \| \| C. Ciliary muscle (or ciliaris), pupillary sphincter muscle (or sphincter pupillae), and pupillary dilator muscle (or dilator pupillae) \| \| Q (62) \| The action of the medial rectus muscle is \| \| ANSWER \| A. inward movement of the eyeball (or adduction). \| B. outward movement of the eyeball (or abduction). \| Q (63) \| The action of the lateral rectus muscle is \| \| ANSWER \| A. inward movement of the eyeball (or adduction). \| B. outward movement of the eyeball (or abduction). \| Q (64) \| The actions of the superior rectus muscle are \| \| ANSWER \| A. upward movement of the eyeball (or elevation), inward movement of the eyeball (or adduction), and intorsion of the eyeball (or medial rotation). \| B. downward movement of the eyeball (or depression), inward movement of the eyeball (or adduction), and extorsion of the eyeball (or lateral rotation). \| \| C. downward movement of the eyeball (or depression), outward movement of the eyeball (or abduction), and intorsion of the eyeball (or medial rotation). \| D. upward movement of the eyeball (or elevation), outward movement of the eyeball (or abduction), and extorsion of the eyeball (or lateral rotation). \| Q (65) \| The actions of the inferior rectus muscle are \| \| ANSWER \| A. upward movement of the eyeball (or elevation), inward movement of the eyeball (or adduction), and intorsion of the eyeball (or medial rotation). \| B. downward movement of the eyeball (or depression), inward movement of the eyeball (or adduction), and extorsion of the eyeball (or lateral rotation). \| \| C. downward movement of the eyeball (or depression), outward movement of the eyeball (or abduction), and intorsion of the eyeball (or medial rotation). \| D. upward movement of the eyeball (or elevation), outward movement of the eyeball (or abduction), and extorsion of the eyeball (or lateral rotation). \| Q (66) \| The actions of the superior oblique muscle are \| \| ANSWER \| A. upward movement of the eyeball (or elevation), inward movement of the eyeball (or adduction), and intorsion of the eyeball (or medial rotation). \| B. downward movement of the eyeball (or depression), inward movement of the eyeball (or adduction), and extorsion of the eyeball (or lateral rotation). \| \| C. downward movement of the eyeball (or depression), outward movement of the eyeball (or abduction), and intorsion of the eyeball (or medial rotation). \| D. upward movement of the eyeball (or elevation), outward movement of the eyeball (or abduction), and extorsion of the eyeball (or lateral rotation). \| Q (67) \| The actions of the inferior oblique muscle are \| \| ANSWER \| A. upward movement of the eyeball (or elevation), inward movement of the eyeball (or adduction), and intorsion of the eyeball (or medial rotation). \| B. downward movement of the eyeball (or depression), inward movement of the eyeball (or adduction), and extorsion of the eyeball (or lateral rotation). \| \| C. downward movement of the eyeball (or depression), outward movement of the eyeball (or abduction), and intorsion of the eyeball (or medial rotation). \| D. upward movement of the eyeball (or elevation), outward movement of the eyeball (or abduction), and extorsion of the eyeball (or lateral rotation). \| Q (68) \| A common tendinous ring \| \| ANSWER \| A. is located at the apex of the orbit. \| B. surrounds the optic canal and part of the superior orbital fissure. \| \| C. serves as the origin for the four (4) of the extra-ocular (recti) muscles. \| D. all of the above answers \| Q (69) \| The following are glands that are related to the eyelids: \| \| ANSWER \| A. Glands of Zeis (modified sebaceous glands associated with the cilia) \| B. Glands of Moll (modified sweat glands) \| \| C. Meibomian (or tarsal) glands \| D. All of the above answers \| Q (70) \| The main lacrimal gland which is lobulated and tubulo-acinar form has a large orbital part and a small palpebral part. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (71) \| The large orbital part of the main lacrimal gland occupies the \| \| ANSWER \| A. anterolateral roof of the orbit. \| B. lateral part of the superior conjunctival fornix. \| Q (72) \| The small palpebral part of the main lacrimal gland occupies the \| \| ANSWER \| A. anterolateral roof of the orbit. \| B. lateral part of the superior conjunctival fornix. \| Q (73) \| The accessory lacrimal glands (glands of Krause and Wolfring) occur in or near the superior conjunctival fornix. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (74) \| The accessory lacrimal glands are more numerous in the \| \| ANSWER \| A. upper eyelid. \| B. lower eyelid. \| Q (75) \| In sequence, the lacrimal apparatus and tear drainage system consists of the lacrimal gland and its excretory ducts, conjunctival sac, lacrimal puncta, lacrimal canaliculi, lacrimal sac, and the nasolacrimal duct. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (76) \| The lacrimal canaliculi are lined by \| \| ANSWER \| A. stratified squamous epithelium. \| B. stratified cuboidal epithelium. \| Q (77) \| The eyeball is also called the bulbus oculi. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (78) \| The coats (or tunics) of the eyeball are the \| \| ANSWER \| A. outer fibrous coat. \| B. middle vascular coat. \| \| C. inner neural coat. \| D. all of the above answers \| Q (79) \| The outer fibrous coat of the eyeball consists of the \| \| ANSWER \| A. sclera and cornea. \| B. choroid, ciliary body, and iris. \| \| C. retina. \| \| Q (80) \| The middle vascular coat of the eyeball consists of the \| \| ANSWER \| A. sclera and cornea. \| B. choroid, ciliary body, and iris. \| \| C. retina. \| \| Q (81) \| The inner neural coat of the eyeball is consists of the \| \| ANSWER \| A. sclera and cornea. \| B. choroid, ciliary body, and iris. \| \| C. retina. \| \| Q (82) \| Regarding the outer fibrous coat of the eyeball, the features of white, opaque, and posterior 5/6 are related to the \| \| ANSWER \| A. sclera. \| B. cornea. \| Q (83) \| Regarding the outer fibrous coat of the eyeball, the features of transparent and anterior 1/6 are related to the \| \| ANSWER \| A. sclera. \| B. cornea. \| Q (84) \| The circular posterior area of sclera (or lamina cribrosa sclerae) is perforated by the fibres of the optic nerve, ciliary arteries and nerves, and their associated veins, the venae vorticosae. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (85) \| The sclera is separated from the fascial sheath of the eyeball (or fascia bulbi, Tenon’s capsule) by the episcleral space. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (86) \| From superficial to deep, the five (5) layers of the cornea are the noncornified stratified squamous epithelial layer directly continuous with the conjunctiva, \| \| ANSWER \| A. anterior limiting lamina (or Bowman’s membrane), connective tissue stroma (or substantia propria), posterior limiting lamina (or Descemet’s membrane), and posterior epithelium (or endothelium). \| B. connective tissue stroma (or substantia propria), posterior limiting lamina (or Descemet’s membrane), posterior epithelium (or endothelium), and anterior limiting lamina (or Bowman’s membrane). \| \| C. posterior limiting lamina (or Descemet’s membrane), posterior epithelium (or endothelium), anterior limiting lamina (or Bowman’s membrane), and connective tissue stroma (or substantia propria). \| D. posterior epithelium (or endothelium), anterior limiting lamina (or Bowman’s membrane), connective tissue stroma (or substantia propria), and posterior limiting lamina (or Descemet’s membrane). \| Q (87) \| The corneoscleral junction (or limbus) contains the canal of Schlemm (or sinus venosus sclerae). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (88) \| The middle vascular coat of the eyeball is also called the uvea or uveal tract. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (89) \| The following are the feature(s) of the choroid: \| \| ANSWER \| A. Dark reddish-brown membrane \| B. Posterior 2/3 of middle vascular coat \| \| C. Firmly attached to retina, but easily stripped from sclera \| D. All of the above answers \| Q (90) \| From external to internal, the four (4) layers of the choroid that can be identified in transverse section are the \| \| ANSWER \| A. suprachoroid, vascular stroma, choriocapillaris, and lamina vitrea (or Bruch’s membrane). \| B. vascular stroma, choriocapillaris, lamina vitrea (or Bruch’s membrane), and suprachoroid. \| \| C. choriocapillaris, lamina vitrea (or Bruch’s membrane), suprachoroid, and vascular stroma. \| D. lamina vitrea (or Bruch’s membrane), suprachoroid, vascular stroma, and choriocapillaris. \| Q (91) \| The ciliary body is continuous and in between the choroid and the iris, in which the choroid (behind) and the iris (in front). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (92) \| The ciliary body consists of the \| \| ANSWER \| A. ciliary ring. \| B. ciliary processes. \| \| C. ciliary muscle. \| D. all of the above answers \| Q (93) \| From external to internal, the four (4) layers of the ciliary body that can be identified in cross section are the \| \| ANSWER \| A. supraciliary layer, ciliary muscle, ciliary stroma, and ciliary epithelium. \| B. ciliary muscle, ciliary stroma, ciliary epithelium, and supraciliary layer. \| \| C. ciliary stroma, ciliary epithelium, supraciliary layer, and ciliary muscle. \| D. ciliary epithelium, supraciliary layer, ciliary muscle, and ciliary stroma. \| Q (94) \| Meridionally, the ciliary body can be divided into the posterior smooth pars plana (or orbiculus ciliaris) and the anterior ridged pars plicata (corona ciliaris). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (95) \| The part of the ciliary body lies adjacent to the ora serrata: \| \| ANSWER \| A. Pars plana \| B. Pars plicata \| Q (96) \| The ciliary body provides attachment for the lens through the suspensory ligaments of the lens (or ciliary zonule of Zinn). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (97) \| The following is(are) feature(s) of the iris, which is the heavily pigmented coloured part of the eye: \| \| ANSWER \| A. Found between the cornea and lens \| B. Represents the adjustable aperture of the eye which has a central opening, the pupil \| \| C. Attached radially to the ciliary body and cornea by short pectinate ligaments \| D. All of the above answers \| Q (98) \| The eye colour depends on the pigment distribution in the iris, in which in the brown eyes, the pigment is \| \| ANSWER \| A. scattered throughout the iris. \| B. limited to the posterior surface of iris. \| Q (99) \| The eye colour depends on the pigment distribution in the iris, in which in the blue eyes, the pigment is \| \| ANSWER \| A. scattered throughout the iris. \| B. limited to the posterior surface of iris. \| Q (100) \| The following are the iris muscles EXCEPT the \| \| ANSWER \| A. sphincter pupillae. \| B. dilator pupillae. \| \| C. ciliaris. \| \| Q (101) \| The inner neural coat of the eyeball, retina, is divisible into the visual part (or pars optica) and the nonvisual part (or pars ceca). \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (102) \| The ora serrata is the junction point of retina where the pars optica transforms to pars ceca. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (103) \| These parts are related to the pars optica: \| \| ANSWER \| A. Pars pigmentosa and pars nervosa \| B. Pars ciliaris and pars iridica \| Q (104) \| These parts are related to the pars ceca: \| \| ANSWER \| A. Pars pigmentosa and pars nervosa \| B. Pars ciliaris and pars iridica \| Q (105) \| Pars optica consists of the following: \| \| ANSWER \| A. Optic disc (or blind spot) \| B. Macula lutea (or yellow spot, area lateral to the optic disc) \| \| C. Fovea centralis (central depressed area in the macula lutea) \| D. All of the above answers \| Q (106) \| The ten (10) retinal layers are distinguished from outside inwards: \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (107) \| The following are the cells of the retina: \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (108) \| The refractive media of the eye consists of the cornea, \| \| ANSWER \| A. aqueous humour. \| B. lens. \| \| C. vitreous humour (or vitreous body). \| D. all of the above answers \| Q (109) \| The eye is divided into the anterior and posterior segments. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (110) \| In the anterior segment of the eye, there are anterior and posterior chambers of the eye. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (111) \| The anterior chamber of the eye is between the \| \| ANSWER \| A. cornea and iris. \| B. iris and lens. \| Q (112) \| The posterior chamber of the eye is between the \| \| ANSWER \| A. cornea and iris. \| B. iris and lens. \| Q (113) \| The posterior segment of the eye is also called the vitreous chamber. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (114) \| Aqueous humour is produced by the ciliary epithelium. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (115) \| Aqueous humour passes through the pupil and circulates within the anterior chamber of the eye. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (116) \| Aqueous humour is drained from the eye mainly through the trabecular meshwork into the canal of Schlemm (or sinus venosus sclerae) at the filtration (or iridocorneal) angle. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (117) \| The lens is the transparent biconvex structure that is located between the anterior and posterior segments of the eye. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (118) \| The posterior surface of the lens lies in the hyaloid fossa of the vitreous body. \| \| ANSWER \| A. TRUE \| B. FALSE \| Q (119) \| The following is(are) the structure(s) of the lens: \| \| ANSWER \| A. Lens capsule \| B. Anterior epithelium \| \| C. Lens fibres \| D. All of the above answers \| Q (120) \| The vitreous body is a transparent, jelly-like mass which fills the posterior segment (posterior 4/5) of the eye. \| \| ANSWER \| A. TRUE \| B. FALSE \|	oercommons	2025-03-18T00:34:17.990255	Ahmad Ruzain	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/128308/overview", "title": "Self-Assessment and Review for Human Anatomy (2)", "author": "Assessment" }
https://oercommons.org/courseware/lesson/76182/overview	Microsoft Word Quiz Overview This is the Microsoft Word Multiple Choice Quiz. It contain 20 Questions. Microsoft Word Quiz1 Choose correct option Choose the correct option and Solve the quiz	oercommons	2025-03-18T00:34:18.008927	01/07/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/76182/overview", "title": "Microsoft Word Quiz", "author": "Achala Vaze" }
https://oercommons.org/courseware/lesson/118188/overview	Themes in literature Writing Activity English Writing Activity Overview This is an interactive writing activity that allows students to familiarize themselves with character traits and thematic elements in literature, while giving them an opportunity to explore their skills in creative writing. Writing Activity Overview: This is an interactive writing activity that allows students to familiarize themselves with character traits and thematic elements in literature, while giving them an opportunity to explore their skills in creative writing. Materials: - Activity sheet - Dice - Notebook paper - Pencils Learning Standards: OAS: 10.3.W.1 Students will compose narratives reflecting real or imagined experiences that: - include engaging plots involving well-developed, complex characters resolving conflicts establish narrator(s) that enhance(s) the narrative - are intentionally sequenced in a way to achieve a specific effect - provide clear descriptions, using precise language, sensory details, and dialogue - include varied syntax to enhance readability emulate literary elements and/or literary devices from mentor texts	oercommons	2025-03-18T00:34:18.028201	Sean Buckley	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/118188/overview", "title": "English Writing Activity", "author": "Homework/Assignment" }
https://oercommons.org/courseware/lesson/117674/overview	Classic Disney Stories! Fairy Tales and Tall Tales from Unbound Ed https://www.khanacademy.org/ela/cc-2nd-reading-vocab/xfb4fc0bf01437792:cc-2nd-fairy-tales-retold/xfb4fc0bf01437792:building-knowledge/a/welcome-to-the-fairy-tales-retold-unit Ice-Breaker_game_Fairy tales The little red riding hood Vocabulary activity Fairy Tales and Other Stories (Interactive Lesson Plan) Overview Why work with faity tales when teaching English to children? ( Elementary Education) Children learn vocabulary in English, but also internalize grammar and, above all, how sentences are formulated correctly. Through the English stories we read or hear, we can practice intonation, but also fluency in the language. And, like any other story (regardless of the language in which it is written), we encourage the habit of reading and creativity of the little ones. Through this ILP the teacher seeks to stimulate and improve the listening, writting and reading comprehension skills of children. UNESCO ICT Competency Framework: Knowledge Acquisition, Knowledge Deepening and Knowledge creation. - Understanding ICT in Education: Policy understanding / Policy application / Policy innovation. - Curriculum and Assesment: Basic Knowledge / Knowledge application / Knowledge Society Skills. - Pedagogy: ICT- enhanced teaching / Complex Problem-solving / Self Management. - Application Digital skills: Application / Infusion / Transformation. - Organization and Administration: Standard classroom / Collaborative Groups / Learning Organizations. - Teacher Professional Learning: Digital Literacy / Networking / Teacher as Innovator. Standard Addressed Standard 6: Summarize key details and ideas to support analysis of thematic development. 6.1 Use information gained from illustrations and words in a print or multimedia text to demonstrate understanding of its characters, setting, or plot. https://oercommons.org/courseware/lesson/88792/overview Public Domain Mark/OERCommons Guess the movie or fairy tale with the emoji :D You should play this activity before give them introduction to the main topic. Before starting let's check this little ice-breaker exercise. Classic Fairy Tales To improve and stimulate teamwork select from the following options which is the favorite story of the group. At the same time paid attention to the more common words that you have listened o checked in the different stories. What is your favorite disney movie? What is your favorite disney song? How is your reading Comprehension? - .Finally pay attention to the following story and answer the questions correctly... - Please write down a short story using the different vocabulary learned in class. You can write it about your favorite person ot hing, pets or simply you can set your imagination in motion. Fairy Tales and Tall Tales Standard 6: Summarize key details and ideas to support analysis of thematic development. 6.1 Use information gained from illustrations and words in a print or multimedia text to demonstrate understanding of its characters, setting, or plot. CC BY NC SA/ Unbound Ed Khan Academy Lesson Standard 6: Summarize key details and ideas to support analysis of thematic development. 6.1 Use information gained from illustrations and words in a print or multimedia text to demonstrate understanding of its characters, setting, or plot.	oercommons	2025-03-18T00:34:18.057548	07/08/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/117674/overview", "title": "Fairy Tales and Other Stories (Interactive Lesson Plan)", "author": "Shelia Russell" }
https://oercommons.org/courseware/lesson/106413/overview	Biology Overview This resource will help you to understand osmosis Osmosis Osmosis is the movement of water molecules from the area with high water potential (low concentrated solution) to area with low water potential (high concentrated solution) through semi permeable membrane. Hypertonic solution is the solution with low water potential. It contains a lot of solutes. Hypotonic solution is the solution with high water potential. It contain small amount of solutes. Isotonic solution is the solution with equal amount of water molecules and solutes. IMPROTANCE OF OSMOSIS i. It helps plant roots to absorb water from the soil. ii. It aid in opening and closing of stomata. When guard cell absorbs water the stomata open and when guard cell loose water the stomata closes. iii. During germination of seed, the seed absorbs water through osmosis and hence soften the seed coat making it more permeable to dissolved minerals and oxygen. iv. It helps in re-absorption of water in the colon and kidney. v. It is used in food preservation by salting and when salt is added to the food, water will move to areas with salt hence the food become dry. vi. In organisms like amoeba, osmosis helps to remove waste and excess water from their bodies. EFFECTS OF OSMOSIS IN LIVING ORGANISMS IN ANIMAL CELLS • When animal cell is placed in hypertonic solution, it loses water therefore shrinks and shrivels. For example when a red blood cell is placed in hypertonic solution it will lose water and shrink. The shrinking of animal cell due loss of water is called crenation • When the animal cell is placed in hypotonic solution it absorbs water. if it is left in the hypotonic solution for a long time its will burst because it has no cell wall prevent it from bursting. Haemolysis is the bursting of red blood cells when a placed in hypotonic solution • When the animal cell is placed in the isotonic solution there will be no effect because water will be moving in both directions until the steady state is reached. IN PLANT CELLS • When placed in hypertonic solution the plant cell will lose water causing the vacuole to shrink and the cell surface membrane is pulled away from the cell wall. The pulling of the surface membrane away from the cell wall is called flaccidity. A flaccid cell is said to be plasmolysed. Plasmolysis is the process whereby the plant cell water loses water due to osmosis and shrink. • When place in hypotonic solution the plant cell will absorb water causing the cell membrane to push against the cell wall. Turgidity is the condition whereby the plant cell absorbs water and become turgid. Turgidity is a result of presence of cell wall which prevents bursting of the plant cell when it absorbs water. Turgidity helps the plant cells to maintain their shape. • When placed in isotonic solution the plant cell neither loses water nor gain because there is steady state condition. I.e. the concentration gradient is zero. IN UNICELLULAR ORGANISMS • In hypotonic solution organisms like Amoeba and Euglena have contractile vacuole which collects and remove the excess water which enters into their bodies.	oercommons	2025-03-18T00:34:18.072538	07/07/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/106413/overview", "title": "Biology", "author": "Chemba Nyiga" }
https://oercommons.org/courseware/lesson/111830/overview	Developing Distance & Online Learning Materials Using Open Educational Resources Overview Introduction Introduction Don't forget to ask the learners to watch the video and read the instructions Welcome to this module on Developing Distance & Online Learning Materials using Open Educational resources. Quick Self - check Write a short paragraph on how self-learning can help you	oercommons	2025-03-18T00:34:18.089675	Jonathan Kovilpillai	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/111830/overview", "title": "Developing Distance & Online Learning Materials Using Open Educational Resources", "author": "Lesson" }
https://oercommons.org/courseware/lesson/102992/overview	Neiva, a city full of unfinished buildings. Overview This work begins describing the problem of unfinished buildings and lots, the factors that contribute to the problem, and who is responsible for this problem. Introduction By: https://www.eluniversal.com.co/politica/cartagena-es-la-segunda-ciudad-de-colombia-con-mas-elefantes-blancos-HA3453283 The unfinished buildings or "Elefantes Blancos" that fill the community with indignation are surfacing in several sectors of the city of Neiva, Huila, where its inhabitants want to see the completion of these long-standing projects in which millions of national and local resources have been buried. This work begins describing the problem of unfinished buildings and lots, the factors that contribute to the problem, and who is responsible for this problem. Now we are going to show you some of the most important examples of unfinished building in the city of Neiva. Example 1 Guillermo Plazas Alcid soccer stadium The Guillermo Plazas Alcid soccer stadium, a failed project in which 28 billion pesos were invested in 2014 for the remodeling of the western grandstand but the works collapsed leaving 4 construction workers dead and 10 others injured. It has suffered 5 suspensions for 337 days and currently the work is still suspended due to errors in the structural designs. In November 2020, a conciliation agreement was signed between ESAP and Enterritorio, which is being studied by the Administrative Court of Cundinamarca to determine the viability of the construction. Example 2 Maternal and Child Care Center Another unfinished project is the Maternal and Child Care Center, Caimi, a project that has been under construction for several years with an investment of close to 17,000 million pesos. Straightening out this project has not been easy because this administration found it with structural problems, design and even current regulations, which has turned it into a headache. To get Caimi back on track, the city has received support from the Ministry of Health with more than 2,000 million pesos and 1,300 million pesos from the Mayor's Office in order to conclude the first phase, which is the most urgent. Example 3 Skating Rink The Neiva skating rink is a project that has been talked about since 2008 and that, apparently, after 14 years, will finally be delivered to the 1,500 skaters in the region. The illusion is great and it is not for less, since the sports scenario was called one of the many existing 'white elephants'. The second phase of this project would end with a much higher investment than expected, however, this would be due to several factors that delayed the progress. Example 4 Abandoned building located in the carrera 5 West in the Los Andaquies neighborhood. This picture was taken in 2013. This picture was taken in 2021.	oercommons	2025-03-18T00:34:18.106534	04/19/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102992/overview", "title": "Neiva, a city full of unfinished buildings.", "author": "Brayan Amaya" }
https://oercommons.org/courseware/lesson/94575/overview	عمليات القلب Overview يهدف الموقع إلي انواع عمليات القلب عمليات القلب انواع عمليات القلب عملية القلب المفتوح عملية القلب بالمنظا عملية القلب النابض يهدف الموقع الى معرفة أنواع عمليات القلب ويحتوي على عمليات القلب المواضيع انواع عمليات القلب عملية القلب المفتوح عملية القلب بالمنظار عملية القلب النابض من نحن نحن طلاب تكنولوجيا التعليم والمعلومات - شُعبة المعلومات المستوى الثالث - جامعة إب كليه التربية الدفعة ( 9 ) عمليات القلب المفتوح عمليات القلب عملية القلب المفتوح :أنواع جراحة القلب عملية القلب المفتوح : هي عملية كبرى تحتاج إلى إقامة في المستشفى لمدة أسبوع أو أكثر بما في ذلك الإفاقة في وحدة العناية المركزة مباشرة بعد الجراحة ، وهي عملية لإصلاح خطأ و تلف في القلب يقوم الجراح بشق الصدر للوصول إلى القلب : نستخدم جراحة القلب المفتوح غالباً لإجراء أ] جراحة لتغيير مسار الشرايين التاجية : في هذا الإجراء يتم استبدال دول الشرايين التاجية في إمداد القلب بالدم ، قد تكون هناك حاجة لهذه الجراحة إذا أصبحت الشرايين التاجية أضيق بسبب أمراض القلب مثل هذا الضيق يزيد من خطر الإصابة بنوبة قلبية يتم إستبدال الشريان المسدود بشريان آخر غالباً من مكان آخر في الصدر أو من الساق ب] إستبدال الصمامات التالفة : تعمل الصمامات في القلب على وقف تدفق الدم إلى أجزاء من القلب بعد ضخها للخروج منها ، ويمكن أيضاً إصلاح مشكلة تسمى تمدد الأوعية الدموية عن طريق جراحة القلب المفتوح هذا هو عندما يكون هناك إنتفاخ أو تورم في الشريان الرئيسي الخارج من القلب متى يطلب إجراء جراحة القلب المفتوح ؟ جراحة القلب المفتوح تعتبر حلاً لكثير من الأمراض إلا أن السبب الأكثر شيوعاً لإجرائها هو مجازة الشريان التاجي *حالات أخرى تتطلب إجراء جراحة القلب المفتوح حالة إصلاح الصمام أو إستبداله – إصلاح المناطق التالفة القلب – زراعة القلب :نصائح هامة لمن أجرى جراحة القلب المفتوح إعتني بالجرح جيداً وحافظ عليه جافاً ونظيفاً تجنب القيام بأي نشاط رياضي خلال شهرين من بعد العملية التزم بنظام غذائي صحي مناسب لك وإبتعد نهائياً عن الدهون نم على ظهرك واحذر من أن تنام على جنبك أو ظهرك تلك الفترة تجنب نهائياً التدخين أو شرب الكحول :ماهي مميزات جراحة القلب المفتوح تقليل مدة الإقامة بالمستشفى تقليل النزيف بعد الجراحة تقليل نسبة الإصابة بالعدوى تقليل مدة النقاهة في المنزل مع إمكانية العودة إلى العمل سريعاً . تصميم خولة عبدالحكيم العتبي 2022م - اشراف أ. د / أنور الوحش عمليات القلب بالمنظار :عملية القلب بالمنظار عمليات القلب بالمنظار :ما هي جراحة القلب بالمنظار أثناء عمليات جراحة القلب بالمنظار يقوم الجراح بعمل فتحات جراحية صغيرة على الجانب الأيمن من الصدر وبالتالي يستطيع جراح القلب أن يصل إلى القلب من بين الضلوع ولا يحتاج إلى شق عظمة القص وهي العظمة الموجودة في منتصف القفص الصدري وبالتالي يكون الألم أقل وفترة النقاهة في المستشفى محدودة بعد الجراحة كما هو الحال في جراحة القلب المفتوح جراحة القلب بالمنظار من خلال الشقوق أو الفتحة الجراحية الصغيرة تحتاج إلى إيقاف واستخدام مكينة القلب الصناعي يمكن إستخدام جراحة القلب عن طريق الفتحات صغيرة في حالات إصلاح أو إستبدال الصمام الأورطي أو الميترالي كما يستخدم أيضاً في إًصلاح ثقب بين الأذنين وعمليات إضطراب نظم القلب وأخيراً استخراج الوريد الصافيني من الساق : عمليات تغيير مسار الشرايين التاجية يمكن عمل هذا النوع من الجراحات بإستخدام المنظار الجراحي أو باستخدام الإنسان الآلي أو الروبوت لا تستخدم جراحات الفتحات الصغيرة مع كل مريض وعادة لا تصلح مع من أجرى جراحة قلب سابقة أو لديه مرض متقدم في القلب مميزات جراحة القلب بالمنظار تقليل مدة الإقامة بالمستشفى تقليل النزيف بعد الجراحة تقليل نسبة الإصابة بالعدوى تقليل مدة النقاهة في المنزل الحالات التي يمكن إستخدام المنظار فيها إصلاح أو استبدال الصمام الميترالي إصلاح أو استبدال الصمام ثلاثي الشرفات استبدال الصمام الأورطي عيب الحاجز الاذيني واغلاق الثقوب الواضحة استئصال أورام القلب الحميدة مثل أورام الميكزوما المخاطية فوائد جراحة القلب بالمنظار نسبة أقل من النزيف مقارنة بعملية القلب المفتوح انخفاض خطر الإصابة بالعدوى عنها في عملية القلب المفتوح سرعة أكبر في التعافي العودة إلى الأنشطة اليومية بسرعة أكبر تكون الندبات الناتجة عن العملية أصغر وأقل وضوح تصميم خولة عبدالحكيم العتبي 2022م - اشراف د / أنور الوحش عمليات القلب النابض عملية القلب النابض هذه هي التقنية الثالثة من أنواع جراحة القلب ، وتعد هذه العملية واحدة من تقنيات إصلاح الشرايين التاجية في هذه العملية تجرى الجراحة عن طريق شق الصدر ولكن دون توقيف القلب وتوصيل ماكينة القلب والرئة الصناعية ( وقد يتم توصيلها في بعض الأحيان ) ولكن يتم تثبيت الشرايين التاجية بمثبتات حتى إنتهاء العملية وسبب التسمية بجراحة القلب النابض وهو بقاء القلب نابضاً دون توقف في أثناء العملية جراحة تغيير مسار الشرايين التاجية بطريقة القلب النابض عندمـا لا تستطيــع الشــرايين إمداد القلب بكمية كافيــة من الدم ، يلجــأ الأطباء لعملية تغيير مسار الشرايين التاجيــة ، تعد هذه الجـراحة واحدة من جراحات القلب الأكثر شيوعـاً والتي تعمـل على إعادة تدفق الدم إلى القلب – أن جراحة القلب النابض – بعبارات بسيطـة – هي جراحــة لتغيير مســار الشرايين التاجية بينما لا يزال القلب بنض لا يتم إيقاف القلب أثناء الجراحة ولا يتم اللجوء لماكينة القلب الصناعي تصميم خولة عبدالحكيم العتبي 2022م - اشراف د / أنور الوحش	oercommons	2025-03-18T00:34:18.130136	06/27/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/94575/overview", "title": "عمليات القلب", "author": "Khawla alaotobi" }
https://oercommons.org/courseware/lesson/107227/overview	Education Standards Contrasting Parenthood Terms Overview Students will contrast the terms parent, parenting, and parenthood by engaging in a round robin and group work. Photo Credit: Peggy Smith on Upsplash State Standards: HSE.HS.33.1.a Identify parenting roles across the lifespan. HSE.HS.33.1.b Differentiate the expectations and responsibilities of parenting. Lesson Plan: Contrasting the Terms Parent, Parenting, and Parenthood Objective: Students will be able to contrast and differentiate the terms "parent," "parenting," and "parenthood" and understand their significance in the context of family dynamics and responsibilities. Grade Level: High School Duration: 1 class period (approximately 45-60 minutes) Materials: - Whiteboard or chalkboard - Markers or chalk - Handout with definitions of "parent," "parenting," and "parenthood" (prepared by the teacher) - Copies of relevant articles or case studies (optional, to extend the lesson) Procedure: Step 1: Introduction (10 minutes) - Begin the lesson by asking students to share their understanding of the terms "parent," "parenting," and "parenthood." Write their responses on the board. - Explain that today's lesson will focus on exploring these terms in depth and understanding their distinct meanings. Step 2: Defining the Terms (15 minutes) - Distribute the handout with the definitions of "parent," "parenting," and "parenthood." - Read through each definition together as a class, and ensure that students have a clear understanding of each term. - As a class, discuss examples to illustrate each definition. For instance: - Parent: A biological or legal guardian of a child. - Parenting: The act of raising and nurturing a child, encompassing various responsibilities and actions. - Parenthood: The state or experience of being a parent, involving both joys and challenges. Step 3: Contrasting the Terms (15 minutes) - Engage the students in a group activity to contrast the terms further. - Divide the class into small groups and provide each group with large sheets of paper or whiteboards. - Assign each group one of the terms ("parent," "parenting," or "parenthood"). - Instruct the groups to brainstorm and create a mind map or list of words and phrases that are associated with their assigned term. - After the brainstorming activity, have each group presents their findings to the class. Encourage discussions and questions after each presentation to deepen the understanding of the contrasts between the terms. Step 4: Real-life Examples (optional) - If time permits and to extend the lesson, provide the students with relevant articles or case studies that highlight real-life examples of "parent," "parenting," and "parenthood" experiences. - In pairs or small groups, have the students read and analyze the articles/case studies. - Encourage the students to share their reflections on the various scenarios and how they relate to the terms discussed in the lesson. Step 5: Conclusion (5 minutes) - Summarize the main points of the lesson, emphasizing the distinctions between "parent," "parenting," and "parenthood." - Ask the students to reflect on what they have learned and how it relates to their own lives or the lives of people they know. - Open the floor for any remaining questions or thoughts. Homework (optional): For homework, students can write a short reflective essay on the importance of understanding the differences between "parent," "parenting," and "parenthood" in building healthy family relationships and a strong foundation for children's well-being. Assessment: The student's understanding can be assessed through class participation, the quality of their contributions to the group activity, and their ability to articulate the contrasts between the terms in the reflective essay (if assigned).	oercommons	2025-03-18T00:34:18.157380	Ashley Ziska	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/107227/overview", "title": "Contrasting Parenthood Terms", "author": "Lesson Plan" }
https://oercommons.org/courseware/lesson/101026/overview	المنزل الذكي Overview المنزل الذكي البدايه الرئيسيه يهدف الموقع الى معرفة ماهي المنازل الالكترونية وايضا عيوبها ومميزاتها وكم تكلفتها ومكونات المنازل الالكترونية وابرز تقنياتها وايضا معرفة لماذا يعد المنزل الالكتروني هو المستقبل . الموضوعات ماهي المنازل االالكترونية فوائد المنزل الذكي عيوب المنزل الاكترونية ابرز التقنيات التي ستحتاجها في منزلك مميزات المنازل الالكترونية كم يكلف المنزل الاكتروني مكونات المنزل الذكي ما لذي يمكن أن يفعله المنزل لماذا يعد المنزل الذكي هو المستقبل تعريف المنازل الالكترونية : هي المنازل التي يمكن إدارتها باستخدام تطبيقات واجهزة التحكم عن بعد عبر شبكة الانترنت حيث يضم العديد من الانظمة متعددة الوظائف واجهزة المراقبة والمستشعرات ويوفر لمالكيها الراحة والامان بالإضافة الى ترشيد استهلاك الطاقة والسهولة في تأدية المهام . ماهي فوائد المنازل الالكترونية: هو المكان الذي يمكن التحكم في أي مكان فيه بشكل رقمي. جرس الباب, الاضاءة الخاصة بك, أمن منزلك, التدفئة والماء كل شيء يمكنك التحكم فيه ومراقبتها والتحكم بها عن بعد من خلال التكنلوجيا. :مميزات البيت الذكي استهلاك اقل للكهرباء قد يعتقد البعض ان مثل هذه التكنلوجيا قد تحتاج الكثير من الطاقة لتنفيذها ولكن العكس هو الصحيح فهي تعمل على التقليل من استهلاك الكهرباء حياة اكثر راحة- - السلامة والامان- منزل اكثر رفاهية- يساهم في تطور حياة البعض- تكنلوجيا صديقة البيئة- تلفزيونيات ذكية - :مميزات البيت الذكي استهلاك اقل للكهرباء قد يعتقد البعض ان مثل هذه التكنلوجيا قد تحتاج الكثير من الطاقة لتنفيذها ولكن العكس هو الصحيح فهي تعمل على التقليل من استهلاك الكهرباء حياة اكثر راحة- - السلامة والامان- منزل اكثر رفاهية- يساهم في تطور حياة البعض- تكنلوجيا صديقة البيئة- تلفزيونيات ذكية - :مكونات المنزل الذكي البرتوكولz-wave البرالبرتوكول ZigBee تقنيه البلوتوث سماعات جوجل هوه الذكية سماعات امازون ايكو الذكية أدوات مراقبة درجات الحرار ة كمنظم Ecobee3 إقفال الباب الذكية جهاز CURB لمراقبة استهلاك الطاقة ابرز التقنيات التي ستحتاجها في منزلك الاكتروني : الذكاء الاصطناعي التطبيقي ورق الحائط الرقمي الروبوتات الآلية وتكنلوجيا التنظيف المنزلي الذاتي انظمة إدارة الموارد الصديقة للبيئة الاقفال الذكية الاضاءة الذكية التحكم الصوتي بكل منزل ذكي اجهزة مراقبة السلامة والصحة مع اجهزة استشعار الحركة الذكية يمكن الكشف عن التنقل داخل المنزل ويخبر ما اذا كان الناس في المنزل أو من زيارة سابقة او لص . يمكن رعاية الحيوانات الاليفة باستخدام حقول متصلة مع بعضها .يمكن رش الاعشاب والنباتات في أي وقت باستخدام أجهزة التوقيت المتصلة من نحن نحن طلبة قسم التكنولوجيا التعليم والمعلومات مستوى ثالث شعبة معلومات الدفعه العاشره.	oercommons	2025-03-18T00:34:18.206525	02/15/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/101026/overview", "title": "المنزل الذكي", "author": "امة الرحمن الاشوال" }
https://oercommons.org/courseware/lesson/92319/overview	Sign in to see your Hubs Sign in to see your Groups Create a standalone learning module, lesson, assignment, assessment or activity Submit OER from the web for review by our librarians Please log in to save materials. Log in Instruction or	oercommons	2025-03-18T00:34:18.234145	04/26/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92319/overview", "title": "Instruction", "author": "Enes Yeni" }
https://oercommons.org/courseware/lesson/94922/overview	Exploring Websites How to be Safe on the Internet Rings of Responsibility Why Digital Literacy Matters Digital Citizenship Overview Let's learn how to be a good digital citizen. Digital Citizenship Digital citizenship refers to the responsible use of technology by anyone who uses computers, the Internet, and digital devices to engage with society on any level. Good digital citizenship engages young students and shows them how to connect with one another, empathize with each other, and create lasting relationships through digital tools. Bad digital citizenship, on the other hand, entails cyberbullying, irresponsible social media usage, and a general lack of knowledge about how to safely use the Internet. There are six key concepts to understand about digital citizenship: - media balance and well-being - privacy and security - digital footprint and identity - relationships and communications - cyberbullying, digital drama, and hate speech - news and media literacy Exploring the Internet Let's explore some websites and see if they are a "good fit" for you. They are linked on the Google Doc. Give this website a thumbs up if it is a good fit for you. If it is NOT a good fit, give it a thumbs down and write a note telling us why it's not a good fit! Rings of Responsibility Teaching digital citizenship is all about helping kids think beyond themselves and recognize the ripple effects of their actions. Personal responsibility is important, but understanding their responsibilities to others can help kids unlock new ways to learn and connect with their communities -- and even change those communities for the better. Be Internet Awesome Play this game to learn about internet use and safety.	oercommons	2025-03-18T00:34:18.257510	07/06/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/94922/overview", "title": "Digital Citizenship", "author": "KASARAH TYSON" }
https://oercommons.org/courseware/lesson/90871/overview	Çamlık Park Overview Video of my own Çamlık Park The guest of today's "Let's travel and see" topic is the x park in Denizli. 3 km from Denizli city center. At a distance of 400 meters from the sea, the Çamlık Forest Resting Area, which has been arranged in a way suitable for daily excursions, is 400 meters above sea level. It is in a 30-hectare red pine forest. Work is underway to increase the area to 60 ha. In the area organized in 1977, a country casino for 150 people, a buffet, a parking lot with a capacity of 300 vehicles, 3 children's playgrounds, 16 fountains, 4 wc, rain shelter, pay phone and 3 km. There is a long running track. The best time to visit is between May and September. Its annual capacity is 200 thousand people, its daily capacity is 2 thousand people. Arboretum works have been started in an area of approximately 2 ha in the western part of the resting area. The vegetation of the area is red pine, false locust, pyramidal and branched cypress, and species such as maple. One of the most important features of Çamlık Forest Resting Area, which is adjacent to Pamukkale University Campus, is the possibility of night picnics. Since the area is safe and well-lit, picnics are also held at night. There are two entrance gates, Çamlık and Kınıklı. Minibuses and city buses are used for transportation. In the park, there is the National Park Administration Building, a forest fire extinguishing group of 50 people and the forest main repair shop. Çamlık park is a safe and peaceful park, people can enjoy with their friends, travel with their pets in there. Çamlık Park is one of the most important landmarks of Denizli.	oercommons	2025-03-18T00:34:18.270642	Umut Şükrü Torun	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/90871/overview", "title": "Çamlık Park", "author": "Reading" }
https://oercommons.org/courseware/lesson/90796/overview	Education Standards LEARNING ACTIVITY SHEET IN TLE HANDICRAFT week 1-2 Overview Different tools and materials use in Embroidery LEARNING ACTIVITY SHEET IN TLE HANDICRAFT week 1-2 Different tools and materials use in Embroidery	oercommons	2025-03-18T00:34:18.290457	03/10/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/90796/overview", "title": "LEARNING ACTIVITY SHEET IN TLE HANDICRAFT week 1-2", "author": "Ginalyn Pallorina" }
https://oercommons.org/courseware/lesson/103534/overview	P.E. Soccer Passing Lesson Overview This is a lesson on how to teach proper passing technique in soccer including a passing activity to help assess how students are doing. Introduction Teaching strategies \| Partner work, hands on learning, and modeling. \| Essential Vocabulary Words and Phrases of Focus for this Lesson \| Accuracy Proper Form Equator of ball Check Mark Planting Foot \| Indiana Academic Standards for Physical Education and/or Health \| Standard 11. Manipulative Skills (Foot Pass/Kick) for Grade 2: Demonstrates an emerging pattern while passing and kicking a moving ball with the inside of the foot (such as passing the ball to a teammate in a soccer lead up game). (2.1.11.A) \| Interdisciplinary Standards \| Math: 2.NS.1: Count by ones, twos, fives, tens, and hundreds up to at least 1,000 from any given number \| How many of you have ever played soccer at recess? Do you know how to pass a ball correctly? Turn to a partner or someone around you and discuss. What does proper form look like when passing a soccer ball? What is accuracy? Why do we want to be accurate when we pass? Why is accuracy important? By the end of this lesson, you will know how to pass a soccer ball with proper form and accuracy. What is Proper Form? Demonstrate what proper form looks like for students so students have a visual. Proper passing form looks like: Stand on your planting foot, or the foot you aren’t kicking with, and have planting foot point towards where you want the ball to go. Kicking foot should make a check mark meaning foot is flexed and toes are pointing up. Passes should be made with the inside of the foot where the foot curves. Ball should be kicked near the equator, or middle, of the ball. If the ball is kicked accurately, it should go in the direction you want. Practice Passing Watch who has the technique down and who needs extra help. As students seem to master skill, have them partner up and practice passing to feet. Once all students are passing with a partner, set up cones activity called gate passing. Space sets of cones, spread about 3 feet apart from each other, randomly around the gym. Assessments \| Formative \| Summative \| \| Watch kids pass with a partner through a set of cones. Do they use inside of foot to pass? Worth 1 point. Do they pass through the cone? Worth one point Does it make it to their partner’s foot? Worth 1 point. Can they make consecutive passes and stay accurate? Worth 1 point. Scale from 0-4 with 4 being best. \| Grab a soccer ball and find a spot around the room near the wall. Practice passing against the wall. Once comfortable passing against the wall, find a partner and practice passing to feet. Gate Passing Have students find a gate, or a set of cones. Have students practice passing through the gate to their partner’s feet. Time students for at least a minute and have them count how many passes they can get in that minute. Ask students how many passes they got. Do this at least 3 times, and have students try to beat their score each round. Ask students to raise their hand if they beat their score from the previous round. If students need a challenge, have them try passing and moving. Have them pass through one gate, and then a partner needs to find a new gate to pass through. Partners must pass through a new gate each time for the pass to count. Scaffolding for Gap Repair and Extended Learning Opportunities \| SPED \| ELL \| High Ability \| Focus on kicking with inside of foot and not on accuracy. Do not time student’s passes or do not have students count passes. \| Model and demonstrate activity and proper form. Do not have students count passes. \| Have students pass and move. \| Assessments \| Formative \| Summative \| \| Watch kids pass with a partner through a set of cones. Do they use inside of foot to pass? Worth 1 point. Do they pass through the cone? Worth one point Does it make it to their partner’s foot? Worth 1 point. Can they make consecutive passes and stay accurate? Worth 1 point. Scale from 0-4 with 4 being best. \| With your partner, find a set of cones, or a gate. Practice passing through the gate to your partner's feet. When the timer starts, count how many passes you and your partner get before the timer goes off. Try to beat your score each round we play! Rap Up At the end of the activity, bring students back together, and ask them to reiterate what proper form looks like by either telling or demonstrating. What does proper passing form look like? Does anyone want to demonstrate?	oercommons	2025-03-18T00:34:18.326605	Assessment	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/103534/overview", "title": "P.E. Soccer Passing Lesson", "author": "Activity/Lab" }
https://oercommons.org/courseware/lesson/92559/overview	Solutions to global warming Overview Solutions to global warming Solutions to global warming Solutions to global warming	oercommons	2025-03-18T00:34:18.347699	Gamze KILIÇ	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92559/overview", "title": "Solutions to global warming", "author": "Assessment" }
https://oercommons.org/courseware/lesson/114261/overview	Cosmetology State Board Checklist-South Carolina Practical Exam Overview South Carolina Cosmetology State Board Kit Checklist for Practical Examination. Cosmetology State Board Checklist-South Carolina Practical Exam If your students are preparing to take the South Carolina Cosmetology Practical Examination here's a free checklist to use as a guide as they prepare for upcoming test.This document was update January 2024. Download, print and share this document with students preparing their state board kits.	oercommons	2025-03-18T00:34:18.362009	03/15/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/114261/overview", "title": "Cosmetology State Board Checklist-South Carolina Practical Exam", "author": "Shateria Nunley" }
https://oercommons.org/courseware/lesson/88209/overview	Post-It?/ Juice Box: An Intro to Social Media Overview This is an introuduction to students about media lieteracy. They will be given visual aids, an assignment to learn about online posts and how their words take affect, and an assignment that will allow them to create media that others will see. Ways to Introduce Social Media/Media Literacy Original OER: Post-It? An Intro to Social Media Class Level - 3rd-5th Grade Goal I Create understanding of social media etiquette and considerations. Context I Students are beginning to or will soon be active on social media. Objective I Make students aware of social media etiquette and considerations. Standards I “I Can” Statement I I can use social media safely and responsibly. AASL Standards I : III.B.Create Learners participate in personal, social intellectual networks by: 1. Using a variety of communication tools and resources. III.C.Share Learners work productively with others to solve problems by: 1. Soliciting and responding to feedback from others and 2.Involving diverse perspectives in their own inquiry process. South Dakota State Library Standards 4.LIB.IL.1.5 Share learning by beginning to use a variety of platforms, tools, styles, media, and formats. 4.LIB.CE.1.2 Explore and identify the impact of one's online activity and digital footprint. 4.LIB.CE.1.6 Respectfully collaborate to contribute to the exchange of ideas in diverse learning communities. Procedures I - Give each student three scraps of scratch paper. - On the first scrap – Respond to this question assuming only your closest friend or friends would see it: What’s the most embarrassing thing – you’ve ever done? - On the second scrap – Answer the same question, but in this case - your teachers, principal, and the adults in your family will see it. - And on the third scrap– Answer the question knowing your favorite movie/tv star(s), singer(s)/musician(s), and/or hero will see it. - Critical thinking prompts: That was the same question – did you write different answers for each? Did you feel more embarrassed thinking about one of those groups reading your response or responses than others? Why? Research shows that people often post things online that they would never say aloud or in person. Do you think you would be more likely to post something online than saying it aloud to any of these groups? Why do you think that is? Why might it be a poor decision or even dangerous? - Key point: When you post online, there is a potential that anyone can see your post or response… even people you have never met or haven’t met yet. You might apply for a job in a few years and many employers look online to see your social media history. Many parents check their kid’s accounts. Would you be proud to have your friend’s mom or dad reading what you’ve sent or posted publicly? Even though it might feel like you are talking just to your friends – social media posts can be permanent. If you post or even private message something you are not proud of – even if you delete it, someone else may have already taken a screen shot of it and can continue to show others. - Next step: Let’s take a look at how social media conversations work. Just like any community – online social media platforms have a culture. Here are some unofficial rules that are good to follow on any of them. - Don’t write in all CAPs. It creates the appearance you are angry or yelling. - Use complete sentences and good grammar/punctuation. It’s easy to be misunderstood online. - Be clear and concise. - Respond to the portion of the thread you are responding to… not necessarily the whole thread. (Show example.) - Be polite, even to strangers. - Beware of trolls and bullies. Some people are only online or participate in conversations to create drama or hurt others. Don’t engage with them and reach out to friends if you see them being bullied. - Ask a trusted grown-up for help if you feel uncomfortable or see something that feels wrong or dangerous. - Final Step: Create a mock Twitter feed on an empty part of your room. Have students post to the “feed” using Post-It notes throughout the day. Students must include their name on the posts. - BONUS – Keep it going all year as a community building activity. Have a daily question available for students to respond to. If time at the end of each day, discuss. Assessment I Monitor the mock Twitter Feed. Advise individual students as needed and reinforce main concepts with group. My Remix Version: 1. Watch this video about the importance of media literacy to introduce them to the topic: https://www.youtube.com/watch?v=ZaMzYDe0taY 2. Replace the questions in the Procedure above with a visual aid (Google Slide) https://docs.google.com/presentation/d/1HlQ9LlvHnHib-_qi76hveDiI7b90SZh4Y1kKsrn1Lg0/edit?usp=sharing, this will help 3-5th grade students see rather than just hear the questions. 3. Showcase Media Literacy by allowing them to create an advertisement. They will be given fill out sheets to help them plan and think of ideas for an ad for a juice box. This will help them get an understanding of how media literacy works. Images, color, slogans, words that pop out, etc. are all things used to create media such as an ad to either inform, entertain, or persuade the viewer of a product, material, or message. They will be asked questions like, I chose to create an ad for…, I chose to use the background because…, The image for my product is…, My grab words are…, etc. This will also be included in the powerpoint to help the students see a visual aid for what they're doing. I used this idea and template from https://www.teacherspayteachers.com/Product/Student-Media-Project-541258 as a way to teach media literacy.	oercommons	2025-03-18T00:34:18.384661	Homework/Assignment	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/88209/overview", "title": "Post-It?/ Juice Box: An Intro to Social Media", "author": "Assessment" }
https://oercommons.org/courseware/lesson/88809/overview	https://view.genial.ly/61b90ee62e7cd30d5ff1866e/interactive-content-psychology https://view.genial.ly/61ba48904301f70d78743033/interactive-content-escape-room-museum https://www.educaplay.com/learning-resources/11082840-multiple_intelligences.html Multiple intelligences Overview Multiple Intelligences Lesson objectives - To know the theory of multiple intelligences and identify if it is reflected in my context. To recognize the intelligences in which I, my classmates, and family have achieved higher development. At the end of the class Students will be able - To identify the eight types of intelligence and some examples of each one. Skills Focus Reading Listening Speaking Language Focus English Procedure teacher and student activity - Pre Activity - While activity - Post activity Pre activity STs are going to start with an activity to know the things that Ss like or love. First STs will do an icebreaker activity called “choose two pictures”, the purpose with this exercise is to give them the opportunity to select two images and then answer some questions to tell us later why they chose those two and if they felt identified with some of the questions. With this activity STs can talk with the Ss and enter into confidence, also STs indirectly provide some details about the topic of the class. Choose two pictures:https://view.genial.ly/61b90ee62e7cd30d5ff1866e/interactive-content-psychology While activity Then knowing the students’ previous knowledge about multiple intelligences. The STs will make a presentation in Genially through interactive images to explain the topic with their respective meanings and examples. In addition, we will talk about some professions that require the different Intelligences to be able to perform the jobs in a better way. After explaining the topic, the Educaplay application will be used by Ss to put into practice what was seen previously. The Ss will relate images with the different types of intelligence and that is how TSs will clarify doubts that exist on the subject. Genially Activity: Multiple Intelligences: https://view.genial.ly/61b7c69fcc365b0d92960201/interactive-image-multiple-intelligences Educaplay Activity: Matching Columns Game: https://www.educaplay.com/learning-resources/11082840-multiple_intelligences.html Post activity Finally, the ST will carry out two activities, where one of them is called "Mystery box" which is done in PP, where it will be done in two teams and questions will be asked. The other activity will be carried out through Genially and is called "Escape Room Museum", in which both activities will deal with topics seen and it is to evaluate to the S how much they learn about the topic of the types of multiple intelligences and their professions. Escape Room Museum: https://view.genial.ly/61ba48904301f70d78743033/interactive-content-escape-room-museum Powerpoint Game: The Mystery Box. ICT National Standard: - Knowledge Acquisition: Policy Understanding - Knowledge Deepening: Policy Application - Knowledge Creation: Policy Innovation English National Standard Listening: • To Participate in activities and games following simple instructions. • To Identify the main characters and situations in stories and audios. • To Recognize moods according to rhythm, intonation, and oral expressions Reading: • To associate images with their written description • To identify situations and characters within short written texts. I recognize words that give answers to who, how, when, where. • To Use graphics to represent the most relevant information in the text. • To use the dictionary to expand my understanding of texts. Writing: • To write descriptions and short stories. • To Properly use grammatical structures of everyday use. • To write short texts with correct spelling. Speaking: • To answer simple questions such as my name, age, nationality, likes and dislikes and my family. • To say hello and goodbye according to the environment and the time of day. • To request explanations on a specific topic when necessary. •To follow and give simple directions for different familiar activities. •To have a simple conversation with my classmates. • To use short sentences to say what I can or cannot do. Resources and materials: Powerpoint Game Genially Educaplay	oercommons	2025-03-18T00:34:18.417333	12/16/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/88809/overview", "title": "Multiple intelligences", "author": "Cristian Arias Perez" }
https://oercommons.org/courseware/lesson/88177/overview	Interactive Media Literacy Activity Overview Media Literacy Interactive Activity. Simple for students in Upper Primary and Middle School. Engage your students in true or false statements to help them understand that not everything on the internet is true. Next take steps into your lesson and meet in groups for a follow-up to see the information they have obtained. Interactive Media Literacy Activity Media Literacy Interactive Activity. Simple for students in Upper Primary and Middle School. Engage your students in true or false statements to help them understand that not everything on the internet is true. Next take steps into your lesson and meet in groups for a follow-up to see the information they have obtained.	oercommons	2025-03-18T00:34:18.434698	Assessment	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/88177/overview", "title": "Interactive Media Literacy Activity", "author": "Activity/Lab" }
https://oercommons.org/courseware/lesson/78578/overview	Googles slides on mentorship Jeopardy Kahoot Lesson plans Student Mentorship Overview This is a free lesson to be used by anyone looking to help their class learn about mentorship. With some elements of gamification, this is sure to help you get started on teaching mentorship to students Intro to mentorship These lessons are intended for grades 7 and 10 to work together but it wouldn't be too hard to adapt to other grades. Lesson Objectives: \| \| Outline Tasks/Actions \| \| Digital and Non-Digital Media: \| Kahoot - How to use: Take-Home Quiz \| Additional Information \| \| Take-Home Tasks: \| Personality quiz - to identify your player type for both grades to better match up students \| Implementing Mentorship All of the digital resources have links to them within the content. These lessons are intended for grades roughly 10 and 7. As well use the rubric at the end of the Lesson plan file to have student do some peer reviewing. Lesson Objectives: \| \| Outline Tasks/Actions \| \| Digital and Non-Digital Media: \| \| Additional Information \| \| Take-Home Tasks: \| Questionnaire- how did you enjoy it? \|	oercommons	2025-03-18T00:34:18.469818	Activity/Lab	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/78578/overview", "title": "Student Mentorship", "author": "Special Education" }
https://oercommons.org/courseware/lesson/82232/overview	MAPS SKILLS NARRATED SLIDES TOPOGRAPHIC MAPS GEOGRAPHY Overview GEOGRAPHY Geography is the study of human and physical environments. It is a subject that combines topics related to physical and human processes over space and time. Map- is the represetation of the earth on paper Map work is commonly used throughout geographic content, map skills is the ability of working and interpretations of maps. Maps commonly used are othographic maps with ratio of 1:50 000. MAP SKILLS TABLE OF CONTENT Geographical skills and techniques: topographic maps, GIS The composition and structure of the atmosphere Plate tectonics, folding, faulting , volcanoes and earthquakes Population: structure, growth and movement Water resources: water in the world: oceans, flooding, water management CAPS (2012) explained Geography to be the study of human and physical environments. It is a subject that combines topics related to physical and human processes over space and time.Thus below is a video from youtube explaining the overview basiscs of geography that is aligned with the explanation of the CAPS document. Direction, Distance & Scale Map skills comprise of Direction, Distance and Scale , Refer back to the above attachment(resource) in section 1 on the notes of maps skills before engaging with the videos below, they are a bulit up from the notes provided. Test your knowledge- Quiz Quiz- Distance, Scale & Direction Below is a link to the quiz: you can take the quiz as many times as you wish, this is to help you consolodate the key elements of maps for more formal assessment. https://www.educationquizzes.com/gcse/geography/os-maps-scale-distance-and-direction/ INSTRUMENTS USED IN MAP SKILLS Under resources please find the attached narrated power point presentation to help you with some calculations and also with which instruments to used for e.g compass can either be used for direction and/or measuring irregular figures ASSESSMENT ASSESSMENT QUESTIONS; Please find below the three attached topographic maps under resources to use to answer the question that follow. CHRISTIANA MAP 1. Measure the Distance from trig becon in block B1 to trig becon in block D6 2. Measure the Distance of the national route and add the 50 km shown on it. 3. Give the direction from the recreational activity in block E4 to the Activity in Block B2 WARRENTON MAP 1. Convert the distance in CM from the national road passing Warrenton in block C1 2. Give the distance in meters of jan kempdorp railway 3. What is the direction to which the vaal river is flowing? TEEBUS MAP 1. Name the feature in B5 2. Measure the distance in km of the orange fish river tunnel from A5 to D4 3. Give the direction of the tafelberg in relation to teebus flats in E3 TOTAL MARKS : 30 THE MEMORANDUM WILL BE MADE AVAILABLE ONCE EVERYONE HAS SUBMITTED AND PRIOR TO US STARTING WITH THE NEW TOPIC. NEW TOPIC: CLIMATOLOGY	oercommons	2025-03-18T00:34:18.495625	06/10/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/82232/overview", "title": "GEOGRAPHY", "author": "Boitumelo Mohlala" }
https://oercommons.org/courseware/lesson/73564/overview	Weekly Reading Practice - Achieve the Core website Reading Practice in a Time of Remote Learning Overview The activities in this weekly reading routine from Student Achievement Partners (Achieve the Core website) are designed to support growth in all three areas of reading fluency (accuracy, rate, and expression). Detailed guidance is given on how to implement the routine during in-person (or virtual synchronous learning), virtual asynchronous learning, or limited access/technology situations. Weekly Reading Practice Routine Student Achievement Partners - Achieve the Core Weekly Practice Routine The activities in this weekly reading routine (PDF attached) are designed to support growth in all three areas of reading fluency* (accuracy, rate, and expression). Detailed guidance is given on how to implement the routine during in-person (or virtual synchronous learning), virtual asynchronous learning, or limited access/technology situations. See how and when to implement research-based activities such as model reading, choral reading, independent practice, and student performances to build fluency skills. Note, reading fluency is one element of foundational skill. Reading instruction should include all skills. Professional Learning Webinar In this webinar you’ll see synchronous, asynchronous, and limited or technology-free formats and develop a professional vision for implementing a reading practice instructional routine in your setting. Hear from one school that’s beginning to implement this model and receive tips on how to implement this at your school. This webinar offers a certificate verifying professional learning time on the topic. To receive the certificate, visit the Achieve the Core website, select the “Access On-Demand” option, and complete the webinar as a registered participant. Attribution and License Attribution Little girl lying in bed reading a tablet by Carina König from Noun Project This resource was curated by the Washington Office of Superintendent of Public Instruction. All materials are created by Student Achievement Partners’ Core Advocate Network. License (from Achieve the Core website) Student Achievement Partners holds no right to intellectual property. Our goal is to create and disseminate high quality materials as widely as possible. All resources that Student Achievement Partners creates are open source and available at no cost. We encourage states, districts, schools, and teachers to take our resources and make them their own.	oercommons	2025-03-18T00:34:18.520447	Barbara Soots	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/73564/overview", "title": "Reading Practice in a Time of Remote Learning", "author": "Teaching/Learning Strategy" }
https://oercommons.org/courseware/lesson/92467/overview	Media Literacy Overview This is an online text outlining the importance of media literacy with elementary aged students. I have made a change which is highlighted at the end. Media Literacy and The Importance of Being A Good Steward Document with assignment is below.	oercommons	2025-03-18T00:34:18.536437	05/04/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92467/overview", "title": "Media Literacy", "author": "Sydney Greer" }
https://oercommons.org/courseware/lesson/102299/overview	Photon Upconversion Overview This material consists of general introduction of the phenomenon "photon upconversion". I have attached a file for better understanding. There are also references for further studies. “Photon Upconversion” (Please refer the attached file for better understanding) By: Kiran Hiremath Contents: They can be synthesized by- 1. Lanthanide based upconversion materials (Ln, Z=57 to Lu, Z=71) 2. Transition metal doped upconversion materials (Cr3+, Ti2+, Re4+,Os4+, and Mo3+) 3. Organic upconversion materials (Organic and organo-metallic chromophores) 1. Lanthanides based UCM: 2. Transition metal ion(TM) doped UCM: 3. Organic UCM: Different mechanisms have been recognized, although the three basic mechanisms are – a. Excited state absorption (ESA) b. Energy transfer upconversion (ETU) and c. Photon avalanche (PA) Involves multistep excitation by sequentially absorbing one or more photons from the ground state to intermediate reservoir stage, and finally populates at excited state, from which upconversion luminescence occurs. (Efficiency = ~10-5cm2/W) There are certain requirements in this process: 1. Two ion system (sensitizer and activator) which lie in close in proximity to each other. 2. Long intermediate states. 3. High absorption of the senstizer. 4. Matching of intermediate energy states of sensitizer and activator. (Lanthanide pair : Yb+3/Tm+3 and Yb+3/Er+3) (Efficiency: ~10-3cm2/W) It can be characterized by three distinct nonlinear behaviors: transmission, emission, and rise time on the pump power intensity with generally the existence of a critical pump threshold. It’s the combination of the previous two mechanism culminating in the release of several high energy photons. Even though upconversion process seems promising in diverse fields, the insufficient emission intensity has been a problem that restricts its application. a. Weak absorption of lanthanide ions. b. Complex energy levels may result in many non-radiative pathways. c. Concentration quenching. (cross relaxation and energy migration) a. Host matrix - optically transparent and low lattice phonon energy. b. Sensitizer - high absorption cross-section. c. Selection of suitable activator. d. Building proper shell around the UCNPs to minimize the surface effects. \|	oercommons	2025-03-18T00:34:18.605747	Kiran Hiremath	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102299/overview", "title": "Photon Upconversion", "author": "Data Set" }
https://oercommons.org/courseware/lesson/104629/overview	Climate Change, The Planet Issue Overview Students will learn about the most important and the most burning issue of the planet, Climate Change, by watching a short video, discussing, sharing ideas, and setting-up their own action plan. They will learn new vocabulary and key concepts related to climate change, and they will be able to use the new vocabulary in sentences of their own, when discussing with peers and writing their ideas. Lesson plan Context: Students aged 16-17 years old Lavel of English: B2+ - C1/ Upper-intermediate - Advanced Duration: 50 minutes Leaning objectives: Vocabulary (What words to use related to Climate change), Speaking (How to speak about Climate change0, Listening (Listen for detail)	oercommons	2025-03-18T00:34:18.622907	06/04/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/104629/overview", "title": "Climate Change, The Planet Issue", "author": "Nadina Nicolici" }
https://oercommons.org/courseware/lesson/113700/overview	https://www.canva.com/design/DAF-gqUz3DU/QRHY9GQ8h0rhPTSQ5Vp-GQ/edit?utm_content=DAF-gqUz3DU&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton Responsibilities of a United States Citizen Overview 5.5.3 Describe the responsibilities of United States citizens including: A. registration and voting in public elections B. becoming informed voters C. engagement in civil discourse D. service on trial juries E. payment of taxes F. obedience to laws G. registration for military service Aligns with this Oklahoma Academic Standard Responsibilities of a United States Citizen This is a review of the responsibilities of a United States citizen.	oercommons	2025-03-18T00:34:18.641191	03/03/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/113700/overview", "title": "Responsibilities of a United States Citizen", "author": "Ashten Johnson" }
https://oercommons.org/courseware/lesson/71233/overview	Img2_edit3 Overview DNS Author: Lion Kimbro Original from:https://commons.wikimedia.org/wiki/File:Example_of_an_iterative_DNS_resolver.svg Network DNS Author: Lion Kimbro Original from:https://commons.wikimedia.org/wiki/File:Example_of_an_iterative_DNS_resolver.svg	oercommons	2025-03-18T00:34:18.652760	08/16/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/71233/overview", "title": "Img2_edit3", "author": "Marcelo Carvalho" }
https://oercommons.org/courseware/lesson/92318/overview	Sign in to see your Hubs Sign in to see your Groups Create a standalone learning module, lesson, assignment, assessment or activity Submit OER from the web for review by our librarians Please log in to save materials. Log in Instruction. Instructions. or	oercommons	2025-03-18T00:34:18.673329	04/26/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92318/overview", "title": "Instruction", "author": "Enes Yeni" }
https://oercommons.org/courseware/lesson/73373/overview	Rock Cycle Lesson Overview The three types of rocks and how they become each through the rock cycle. Rock types There are different types of rocks found on Earth. These types are sedimentary, metamorphic, and igneous. Differences Sedimentary- these rocks form from small particles over time. They may contain fossils, minerals, or other matter. Metamorphic- metamorph means to change in form. These rocks form by heat and pressure from the Earth. Igneous- These rocks are the result of cooled lava. They are often a dark color from the fire or heat. Rock Cylce All of these types of rocks can be formed from each other over time. If a volcano errupts, the lava will run down and harden into rock as it cools. This rock will eventually break down into particles and can come back together with new particles. This will form a sedimentary rock. From there, this rock can be burried in the ground. With built up pressure and heat, it will turn into a metamorphic rock. Video Video Response If a river dries up, what type of rock would be created? Video Response 2 If sand was pressed down for 2,000 years, what type of rock would that become?	oercommons	2025-03-18T00:34:18.689456	10/11/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/73373/overview", "title": "Rock Cycle Lesson", "author": "Cassidy Bowles" }
https://oercommons.org/courseware/lesson/91720/overview	OER Presentation Overview Gives a little insight into media literacy. Teaching Materials, Activities & Assessment Setting the stage: an introduction to visual literacy and social media Start with the Introduction to Media Literacy Slide Deck "C:\Users\Megan Rice-Weber\OneDrive\Documents\CI-2300-103-Medialesson.pdf". Before you begin, plan how/where you would like students to record their ideas/responses to questions in the slides. This slide deck can be posted for asynchronous learning. Student Activities: The flexible design of this unit holds many possibilities for student practice and engagement with visual literacy skills. Activity: Reading Social Media You can choose posts for students to select from a carefully curated set of accounts. Students can take screenshots of images and then import them into a doc, etc. for analysis. Students can also share posts with the teacher for class discussion. Make sure you have previewed the content of images, text, etc. ahead of time. Sample. Activity: Developing Visual Literacy Students can create a slide, doc or other way to share their thinking. You can use this slide template as one way to gather student responses: Choose your own image to analyze Cross-curricular Activity: Connecting Visual Literacy to Primary Source Analysis You can use the OPVI/E as a starting point to collaborate with your social studies department. By reinforcing literacy skills and concepts between departmentsm, you can help students realize that literacy skills are not confined to one class or subject. OPVI/E Student Activity: Adding to the Visual Literacy Toolbox Angles, Edits and Crops Begin with a warm up. Students can analyze a post you have curated or can analyze one they have submitted as part of lesson one. Students can practice applying guiding questions and concepts to images they select. This lesson also introduces students to the concept of using copyright free images. A good resource for warm ups: Time’s top 100 pictures of 2020 Student Assessment: Create your own ad Introduce the activity. Have students brainstorm possible topics. Students can share their ideas in a variety of showcase platforms, ie whole class slide show, gallery walk, small groups, etc.	oercommons	2025-03-18T00:34:18.708345	04/12/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/91720/overview", "title": "OER Presentation", "author": "Megan E Rice-Weber" }
https://oercommons.org/courseware/lesson/65315/overview	Activities Overview Daily activity options. Activities Below you will find attachments for daily writing and reading assignments. I would print this paper to have as hard copy reference as well. There are live links, so knowing how to access here will help.	oercommons	2025-03-18T00:34:18.725398	04/15/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/65315/overview", "title": "Activities", "author": "Julie Cronin" }
https://oercommons.org/courseware/lesson/78477/overview	Go Beyond: The Sun and Light Pollution Go Beyond: Tools for Observing the Night Sky Go Beyond: Ursa Major, Big Dipper, “The Big Bear” What is Light Pollution? Overview Learn how light plays an important role in what you see and don't see in space. Engage in fun activities learning about light pollution and how the Sun, Earth and Moon interact with one another. Finally we will incorporate the other planets in our solar sytem and learn how they all move about one another in space. Why is the sky blue? Teacher: Have students create their own constellations by poking holes in empty containers and shining a flashlight or other light source through the container. Students could create their own unique constellations or try to recreate those seen in the sky. Is it easier to see your constellations with the classroom lights on or off? Why? Have students work together to construct a physical model that simulates how the sun, earth and moon move in relation to each other. Teacher will need to bring Styrofoam balls and wires in for student teams to use. Building on the previous lesson, have students add to their model the additional planets in our solar system. What are interesting characteristics about each planet? Do all Planets move around the Sun the same way as Earth? Student directions: After learning about the different constellations, you will create your own. Using a milk jug, poke holes using the nail to create your own constellation. While holding your jug, have your partner shine the flashlight into the jug. Try it with the overhead lights on and off. Which works better? Talk with your partner. Using your Styrofoam balls, decide between your partners which will be the Sun, Moon or the Earth. After decorating your chosen heavenly body, practice moving them around each other using the appropriate sequence. Now we are going to use the additional Styrofoam balls to add the remaining planets. Divide the Styrofoam balls up among the team and decide who is creating each planet. What order do they go in? Do they all move around the Sun the same speed? Using the Earth’s pace as the default, the remaining planets should practice moving around the Sun using “that planet’s” speed. Is it faster or slower?	oercommons	2025-03-18T00:34:18.748937	03/22/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/78477/overview", "title": "What is Light Pollution?", "author": "Ken Harrison" }
https://oercommons.org/courseware/lesson/115385/overview	THE SOLAR SYSTEM Overview This lesson of Natural Sciences is intended fro grade 7th and it is about the Solar System. INTRODUCTORY ACTIVITY In groups of 4 discuss with your classmates about the following questions: DID YOU KNOW? SECOND ACTIVITY Now that you know the characteristics of the planets, you must classify them in the following chart. Look at the example: THIRD ACTIVITY Read the concepts and according to them complete the following crossword puzzle: HOMEWORK The following video and image represents Greek and Roman mythology in relation to the planets of the solar system. Your task is to investigate what myths about the planets exist or existed in your region and make a drawing about it.	oercommons	2025-03-18T00:34:18.765603	04/18/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/115385/overview", "title": "THE SOLAR SYSTEM", "author": "Andres Felipe Cardozo Rivas" }
https://oercommons.org/courseware/lesson/110437/overview	ERROR: type should be string, got "https://docs.google.com/document/d/1rNOImR5hDV-hZE7_xt-OVWOQroYAWxI95GCNqyh9YJQ/edit?usp=sharing\nSpelling Football\nOverview\nThis lesson will be so that students can master spelling words that do not spell how they are sounded out.\nStandard 1: : The physically literate individual will demonstrate competency in a variety of motor skills and movement patterns.\nCatches a soft object\nfrom a self-toss\nbefore it bounces.\n(1.1.9.A)\nEnglish/Language Arts\n2.W.8\nEncoding – I. Correctly spelling words with short and long vowel sounds, r-controlled vowels, and consonant-blend patterns. II. Generalizing learned spelling patterns (e.g., word families) when writing words. III. Correctly spelling common irregularly-spelled, grade-appropriate words (e.g., said, does, gone).\nObjectives and Standards\nStandard 1: : The physically literate individual will demonstrate competency in a variety of motor skills and movement patterns.\nCatches a soft object\nfrom a self-toss\nbefore it bounces.\n(1.1.9.A)\nEnglish/Language Arts\n2.W.8\nEncoding – I. Correctly spelling words with short and long vowel sounds, r-controlled vowels, and consonant-blend patterns. II. Generalizing learned spelling patterns (e.g., word families) when writing words. III. Correctly spelling common irregularly-spelled, grade-appropriate words (e.g., said, does, gone).\nStudents will be able to spell 70% or 7 out of 10 words correctly.\nIntroduction\nWhy is learning how to spell words important?\nImagine if I wanted to write my mom a letter but I did not know how to spell?! YIKES! Learning how to spell is essential to your everyday life. Whether it be through sending a text, writing a letter, or even reading. We use words in our everyday lives.\nThese are the spelling words for this week:\ngoes\ndoes\nsaid\nwrong\neach\nwhich\nwalk\nvery\ndone\ngive\n3x Each\nAccomodations and Alternative Assignments\nIf a student has SPED and needs accomodations please do so.\nAlternative assignments would be:\n-spell words out loud to teacher, co-teacher or paraprofessional\n-only do half of 3x each assignment\n-take another day to complete assignment if needed\nIf a student has ELL\nAlternative Assignments and Accomodations:\n-Have the list in front of them at all times\n-co-teacher, teacher, or paraprofesionall working with them one on one to help\n- use a microphone when speaking if needed\nIf student is deaf, they will be allowed to sign the words as the assignment\nIf a student cannot write, they can spell words 3x each and a friend write the words for them, teacher, co-teacher, paraprofessional.\nIf a student is High Ability\n- They will have a high ability words to complete as well\nBefore we take a quiz and play a game, we first need to learn our words.\nGet out of a piece of paper and writing utensil please.\nWe will write out each word 3x each so that we can learn them by repetition.\nSpelling Football\nAccomodations and Alternative Assignments\nSPED\nIf a student has SPED these are the accomodations and alternative assignments avaliable:\n- Play the game without throwing a ball\n- Spell the word on a dry erase board instead of out loud\n- ask for teacher to help\nELL\n- they can choose to the do the game one on one with teacher\n- they can choose to do the worksheet attached below instead\n- they can write words on dry erase board\n- they can ask teacher for help\nDEAF\n- sign langauge as their practice and assessment\nHard of Hearing\n- use microphone\nMOTOR DELAYS\n- they can opt out of throwing a ball up and down\nHIGH ABILITY\n- there is a high ability list they wille be asked to spell before winning the game\nThere is a basket at the front of the room with different types of balls that can be hand tossed in the air. When you are ready, please go grab a ball and silently walk back to your desks.\nWhen every student is back in their seats, we will begin playing spelling football.\nRules of the game:\n- student must toss the ball up and in the air for the letter to count\n- student must spell the word correctly and use one letter per toss for it to count\n- when a student gets an answer wrong, they will be asked to sit down in their seat for the remainder of the game\n- winner gets a freebie on the quiz\n- the teacher will give the student the word to spell and we will stay on that word until it is spelled correctly\nQuiz\nAlternative assignments would be:\n-spell words out loud to teacher, co-teacher or paraprofessional\n-only do half of 3x each assignment\n-take another day to complete assignment if needed\nIf a student has ELL\nAlternative Assignments and Accomodations:\n-co-teacher, teacher, or paraprofesionall working with them one on one to help\n- use a microphone when speaking if needed\nIf student is deaf, they will be allowed to sign the words as the assignment\nIf a student cannot write, they can spell words 3x each and a friend write the words for them, teacher, co-teacher, paraprofessional.\nIf a student is High Ability\n- They will have a high ability words to complete as well\nThe assesment will take place in the classroom.\nThe teacher will read each spelling word and use it in a sentence.\nThe student will write down their words.\nTo show mastery 7 out of 10 or 70% of the words are spelled correctly."	oercommons	2025-03-18T00:34:18.795134	11/22/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/110437/overview", "title": "Spelling Football", "author": "Conner Cox" }
https://oercommons.org/courseware/lesson/116321/overview	Career Boost Overview These resources will provide you with all the information you need to begin your journey with employment services. You will have access to online training, as well as resources and links to guide you every step of the way. Let's get started!" Open Educational Resources for Empowering Employment Services Description: Welcome to CareerBoost, a pioneering initiative dedicated to revolutionizing employment services through Open Educational Resources (OER). At CareerBoost, we believe that everyone deserves access to high-quality educational materials to enhance their career prospects and professional development opportunities. Our Mission: CareerBoost aims to democratize access to essential knowledge and skills for job seekers, employment counselors, HR professionals, and career development practitioners. Our mission is to empower individuals and organizations within the employment services sector to thrive in today's rapidly evolving job market. What Sets Us Apart: - Relevance: Our OER are tailored to address the specific needs and challenges faced by professionals in the employment services industry, ensuring practicality and applicability. - Accessibility: All resources are freely available online, removing financial barriers and enabling widespread access to valuable educational content. - Collaboration: We foster a collaborative environment where industry experts, educators, and practitioners can contribute their expertise, insights, and best practices to enrich our educational offerings. Key Features: - Comprehensive Content: Our OER cover a broad spectrum of topics relevant to employment services, including resume writing, interview skills, career coaching, talent acquisition, and workforce development. - Engagement Tools: Many of our resources feature interactive elements such as case studies, role-playing scenarios, and self-assessment exercises to enhance engagement and facilitate active learning. - Professional Development: We offer resources specifically designed to support the ongoing professional development of employment services professionals, equipping them with the knowledge and skills needed to excel in their roles. How to Get Involved: - Explore: Browse our extensive collection of OER to discover resources that address your professional development needs or the needs of your clients. - Contribute: Share your expertise by contributing to existing resources or creating new ones to fill gaps in our educational offerings and support the broader employment services community. - Connect: Join our community of employment services professionals to network, collaborate, and exchange ideas with like-minded individuals passionate about advancing the field. Join the Movement: CareerBoost is more than just a repository of educational resources—it's a movement to elevate the standards of excellence within the employment services industry. Together, we can empower individuals and organizations to navigate the complexities of today's job market and achieve sustainable career success.	oercommons	2025-03-18T00:34:18.824524	05/24/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/116321/overview", "title": "Career Boost", "author": "Oscar Garcia" }
https://oercommons.org/courseware/lesson/73198/overview	Análisis de Cuentos Overview El presente análisis corresponde al Jircas de López Albújar Cuentos Las Jircas En torno a la ciudad de Huánuco existen tres cerros o jircas: Marabamba, Rondos y Paucarbamba. Una leyenda lugareña, de origen prehispánico, contaba el origen de esos nombres: eran de tres guerreros antiguos, venidos de lejos en busca del amor de una hermosa doncella. El autor recoge esta leyenda y la recrea de manera magistral. El curaca de esa región, llamado Pillco-Rumi, tenía una hermosísima hija única, Cori Huayta (Flor de Oro). El padre no quería que su adorada hija se casara porque para él no existía en su reino un hombre perfecto y capaz de hacerla feliz. Pero al actuar así iba contra las leyes del reino, que obligaban a toda mujer adulta a contraer matrimonio. Varios pretendientes se dispusieron a pelear para conseguir la mano de la bella Cori Huayta, entre ellos tres guerreros famosos: Maray, Runtus y Páucar, venidos de la puna, del mar y de la selva, respectivamente, al frente de numerosos ejércitos. Al verse rodeado, Pillco-Rumi implora desesperadamente la ayuda del dios Pachacámac; este interviene matando a los pretendientes y convirtiéndoles en cerros. Luego, el dios va en busca a Cori-Huayta, a la que toma para sí, fulminándola con un rayo. Es en ese instante en que se escucha la voz del dios que decía «huañucuy» (¡muérete!); los pobladores, asustados, abandonan el lugar y fundan otra población, a la que bautizan Huánuco, en alusión a la voz divina. López Albújar, Enrique. Cuentos andinos. Lima, Peisa, 1986, p. 7.	oercommons	2025-03-18T00:34:18.838508	10/06/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/73198/overview", "title": "Análisis de Cuentos", "author": "Ronald Ramos" }
https://oercommons.org/courseware/lesson/83019/overview	Jack H-20210618T132625Z-001 (1) Is Water Wet? Overview This lesson includes a lab that has students differentiating between hydrophilic and hydrophobic surfaces and is designed for a 7th-grade science class in Indiana. Teacher-developed resources are attached for student use. Standards Indiana 7th Grade: SEPS.3 6-8.E.2 7.ESS.6 Learning Objective Students will create a hydrophobic surface using principles of nanotechnology. Materials Gallery Walk Displays -- found in this document Sticky Notes (2 per student) Lab Report (1 per student) -- found in this document Lab Protocol -- found in this document Glass slides (1 per student) Gloves (1 pair per student) Face masks (1 per student) Tape (1” strip per student) Dropper (Class set, 1 per student) Water (feel free to use food coloring for added effect!) Krylon Color Master Clear Spray (1 can per 8 students), or Arrid XX Spray (1 can per 8 students), or Sigma Coat Background Teacher Information/Concepts: Scientists are always trying to find ways to use technology to mimic features found naturally in nature that could be advantages to our lives. Nano refers to any substance 1 - 100 nanometers in size. Hydrophobic surfaces repel water and are waterproof. We can manipulate the surface of a substance using nanotechnology. Prior Student Knowledge: Atoms can interact in a variety of ways to create molecules with distinctive properties. A meniscus is formed because of the polarity of water. Possible Preconceptions/Misconceptions: If students struggle to grasp the concept of hydrophobic and hydrophilic, use an oil and water demonstration. The visualization of how water will not remove oil but dish soap will help students make the connection to the real world. In addition, if students struggle to understand how hydrophobic/philic materials interact draw a diagram of how molecule of dish soap interact with oil to remove them. The hydrophobic attaches to the oil which is also hydrophobic while the hydrophilic part attaches to the water, essentially creating a soluble substance. Procedure Vocabulary: Biomimicry, Nanotechnology, Hydrophobic, Hydrophilic, Ambiphilic \| Hook/Set the Stage: Engage prior learning Do Now/Gallery Walk: When students walk in they will pick up two sticky notes. When class begins have students walk around the room silently for 5 minutes examining the different displays. There will be laminated papers around the room with examples of biomimicry. Students will write their names on the sticky notes and leave them next to the two examples they find most interesting. ++Displays (first attachment): Lotus Leaf (self-cleaning and repels water), Jellyfish (bioluminescence), Humpback Whales (efficient wind energy), Mosquitos (needles), Dolphins (underwater signals) After 5 minutes, all students should return to their seats. Discuss which organisms have the most or least sticky notes - why are those properties more or less desirable? Be sure to end the class discussion with the lotus leaf. Demonstration: Show a pair of Jordans (shoes) to the class that has been pretreated with a hydrophobic coating. Discuss with the class what will happen if you were to pour water or another liquid on it. Pour some water on a towel and have students feel it - is it wet? After confirming that the water will make the cloth object wet, pour water on the shoe. Have some students touch it - is it wet? Discuss WHY the shoe did not get wet. If time allows also demonstrate by pouring some sort of juice or colored water. Investigate: Examine phenomena/activities/simulations/instruction While explaining the demonstration, write up the words Nanotechnology, Hydrophobic, Hydrophilic, Ambiphile on the board. Breakdown each word into their root words “Nano,” “Technology,” “Hydro,” “Phobic,” “Phillic/Phile,” and “Ambi” After breaking down the compounds of each word start by talking about the real world applications of creating something that is waterproof. Have students pair up to brainstorm a list of ideas (longest list wins)! Have the students all stand up and go from group to group each sharing a unique idea. When a group is out of original ideas they sit down. Next, explain that we will be creating a waterproof object using nanotechnology. To put this size in perspective, show either one of these videos: (https://www.youtube.com/watch?v=IC3AcItKc3U) (https://www.youtube.com/watch?v=uaGEjrADGPA) Each student will receive a glass slide, gloves, and face masks. Referenced lab guidelines (suggested ones at the end of this document, feel free to use your own ) Students should follow this procedure: - Apply the tape to the glass slide on one side, this will be your non coated side - Spray the Krylon Color Master Clear on the glass slide - Spray the the Arrid XX Spray on the glass slide - Let dry for 10 minutes (answer any questions, example lab report is HERE) - Remove tape - Use a dropper to apply some water to the slide - Put away the sprays, throw away all disposables (gloves, masks, tape, etc.) Facilitate a post lab discussion with these guiding questions: - Why was the area of the glass that had been covered in tape, not hydrophobic? - Why would this method of creating a hydrophobic surface not be good for other glass surfaces like car windows or rearview mirrors? - How did we create a hydrophobic substance? STEM Differentiation & Integration: There are three distinct ways this activity can be adjusted based on limited materials, content, or other accommodations. - The activity can be done in groups if materials are limited. Groups of 2 or groups of 4 - To explore more of the math, you can discuss the angles required for a hydrophobic, superhydrophobic, or hydrophilic surface. - Consider having a few copies of the lab report with sentence starters. Assessment Strategies: Before this class period, students have already completed the official NSF pre-assessment. Slides will be evaluated based on their ability to repel water. Lab Reports will be collected to evaluate learning as it relates to this objective. The next day, an NSF post-assessment will be given as a take-home assessment. Credits This learning module was created by Jack Hesser, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:18.882096	07/01/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83019/overview", "title": "Is Water Wet?", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/69229/overview	KS2 Circulatory System Interactive Labelling Activity Overview Use this interactive labelling activity to locate the parts of the human circulatory system. Track the circulatory system on its journey around the body. Children simply drag and drop to label each part. Circulatory System - Labelling Activity What is the circulatory system? The circulatory system is the network of organs and vessels which allow blood and the materials carried by blood to circulate around the body. The circulatory system is made up of the heart, blood vessels and blood. The ciculatory system ensures that oxygen is delivered to all areas of the body and waste materials such as carbon dioxide are removed. How can I test children's knowledge of the human circulatory system? Use this interactive labelling activity to locate the parts of the human circulatory system. Track the circulatory system on its journey around the body. Children simply drag and drop to label each part. Simple and quick to use educational resource for KS2 to keep them engaged and entertained.	oercommons	2025-03-18T00:34:18.899029	07/01/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/69229/overview", "title": "KS2 Circulatory System Interactive Labelling Activity", "author": "David Jose" }
https://oercommons.org/courseware/lesson/83018/overview	Resistance Overview This lesson uses data that the teacher collected at INDI to help students understand resistance in an ICP class. Learning Objective ICP.6.4 Define and describe the relationships among voltage, current resistance and power in open and closed electrical circuits. Procedure Engage: 1. BBC youtube (about 1 min): https://www.youtube.com/watch?v=5Qh-4Wm51pw Study: Notes: 2. Define resistance (what does resist mean?) - Students give examples of good conductors and insulators. - Which have more resistance? 3. Teacher: describe experiment w/ graphene at IUPUI - Draw diagram and Students try to predict what will happen with the resistance with the presence of gas - show data that measures resistance Activate: 4. Students can explain to each other why the resistance changes with the presence of gas. Credits This learning module was created by Jacquelynor Tschudy , a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:18.913515	07/01/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83018/overview", "title": "Resistance", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/118727/overview	Mindfulness for Kids What makes a good friend? Understanding Anger and How to Deal With It Overview This Open Educational Resource (OER) is designed for young children, particularly those in kindergarten and early elementary school, to help them understand and manage feelings of anger. The resource provides simple explanations, relatable examples, and practical strategies to teach kids how to handle anger positively. It is enhanced with supporting materials, including videos, images, and documents, to engage young learners and reinforce key concepts. Anger can sometimes make us do things that hurt others, like yelling or hitting. This educational resource helps kids understand what anger is, why we feel it, and how to handle it better. Kids will learn how to deal with anger through simple explanations and fun examples and become more caring and peaceful. 1. What is Anger? Anger is a strong feeling that can make us feel upset or mad. Everyone feels angry sometimes, and that’s okathat's it's imporit's to know how to handle anger without hurting others. 2. Why Do We Get Angry? Feeling Upset Sometimes, we get angry because we feel upset when things don’t go the way we want. Feeling Frustrated We can also feel angry when we are stuck or can’t do the scanning we want to do. Copying Others If we see other people, like friends or family, getting angry and acting out, we might think it’s okay; it's the same. 3. What Happens When We Get Angry? Words That Hurt When angry, we might say mean things that hurt other people's people's Actions That Hurt Sometimes, we might hit, push, or do other things that can hurt others. 4. Examples of Angry Situations Example 1: School Playground Jenny feels angry when another child takes the toy she was playing with. She yells at the child and tries to grab the toy back. Example 2: Car Ride When the car ride takes too long, Tom gets really angry. He starts yelling and kicking the seat in front of him. 5. How Can We Handle Anger? Take a Deep Breath When you feel angry, try taking a few deep breaths to calm down. Talk About It Tell a teacher or an adult how you feel. Talking about your feelings can help you feel better. Walk Away If something makes you angry, try walking away and finding a quiet place to calm down. Think of Happy Things Think about something that makes you happy, like your favorite game or a fun day you had. 6. Helping Each Other Be Kind If you see someone else feeling angry, be kind and try to help them feel better. Share and Play Fair Sharing and playing nicely with friends can help everyone feel happy and avoid anger. Use Words, Not Fists Always use your words to express how you feel instead of hitting or pushing. 7. Real-Life Example: How We Solved a Problem In our school, some kids were feeling angry and yelling during playtime. We started a "Feelings "ircle" where ev"ryone could talk about their feelings. Soon, everyone learned to share and play nicely, and our playtime became much more fun! 8. Conclusion Anger is a normal feeling, but it's imporit's to handle it in a way that doesn’t hudoesn'trs. By taking deep breaths, talking about our feelings, and being kind, we can all learn to manage our anger and make our school happier.	oercommons	2025-03-18T00:34:18.934803	Module	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/118727/overview", "title": "Understanding Anger and How to Deal With It", "author": "Lesson Plan" }
https://oercommons.org/courseware/lesson/102532/overview	The Use of Blockchain Technology in the Insurance Industry Overview The Use of Blockchain Technology in the Insurance Industry The Use of Big Data in Retail Banking This research topic looks at the use of big data in retail banking. It assesses the potential benefits of using big data to improve customer segmentation and target marketing campaigns. Fintech topics The Use of Blockchain Technology in the Insurance Industry This research topic looks at the use of blockchain technology in the insurance industry. It assesses the potential benefits of using blockchain to streamline claims processing and improve the transparency of the insurance sector. Regulating Initial Coin Offerings This research topic assesses the regulatory framework for initial coin offerings. It looks at the challenges associated with regulating ICOs and makes recommendations for improving the existing framework. The Use of Big Data in Retail Banking This research topic looks at the use of big data in retail banking. It assesses the potential benefits of using big data to improve customer segmentation and target marketing campaigns.	oercommons	2025-03-18T00:34:18.954564	04/02/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102532/overview", "title": "The Use of Blockchain Technology in the Insurance Industry", "author": "Padmini V" }
https://oercommons.org/courseware/lesson/106185/overview	Malcom X, "By Any Means Necessary" Martin Luther King Jr., "Letter From Birmingham Jail" Examining Primary Sources from the Civil rights Movement Overview The Civil Rights Movement in America featured many different leaders, some with very different approaches they thought would help African Americans achieve equality. Of these figures Martin Luther King Jr. and Malcom X are two of the most influential. Students will analyze one writing from each of these leaders to determine what their beliefs were and how they were different from one another, before discussing these beliefs and differences with a partner. Image: Warren K. Leffler (photographer), Library of Congress (source). Public Domain. Lesson Objectives Students will: - Analyze writings from Malcom X and Martin Luther King Jr. - Describe the beliefs these Civil Rights based upon their public speeches. - Compare and contrast the beliefs of these figures. - Discuss and reflect on these writings with a partner Introduction What does Civil Rights mean to you in today’s world? Take a minute to discuss this as a class. After we ponder this question, we can look back at the Civil Rights Era in the United States. Today we will be reading two important writings from seminal Civil Rights figures Martin Luther King Jr. and Malcom X. Be sure to read them thoroughly and keep in mind these analysis questions for each writing: - How would you describe their beliefs? - How do they believe equality can be achieved? - How would one leader criticize the other? - Which leader do you think was more impactful in the Civil Rights movement? Think these questions through and prepare to discuss with a partner. Activity This activity can be modified for more of a group discussion by having one group read the Malcom X writing and the other read the MLK, while still answering the analysis questions, and then discussing the differences as a whole class. Read Martin Luther King Jr.'s "Letter From Birmingham Jail" and Malcom X's "By Any Means Necessary" speech in whatever order you so choose. While reading remember to keep in mind the questions: - How would you describe their beliefs? - How do they believe equality can be achieved? - How would one leader criticize the other? - Which leader do you think was more impactful in the Civil Rights movement? After reading and answering these questions for each writing, find a partner and discuss your analysis with a partner. Exit Ticket This could simply be turned into a discussion topic for the class if you so choose. What is something you would want to know more about with regard to each of these Civil Rights leader? As an Exit Ticket, write your thoughts down and turn them in to the teacher.	oercommons	2025-03-18T00:34:18.980318	Matthew Landon	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/106185/overview", "title": "Examining Primary Sources from the Civil rights Movement", "author": "Lesson Plan" }
https://oercommons.org/courseware/lesson/113669/overview	NIST Artificial Intelligence Risk Management Framework Overview In collaboration with the private and public sectors, the National Institute for Standards and Technology (NIST) has developed a framework to better manage risks to individuals, organizations, and society associated with artificial intelligence (AI). The NIST AI Risk Management Framework (AI RMF) is intended for voluntary use and to improve the ability to incorporate trustworthiness considerations into the design, development, use, and evaluation of AI products, services, and systems. Introduction Artificial intelligence (AI) technologies have significant potential to transform society and people’s lives – from commerce and health to transportation and cybersecurity to the environment and our planet. AI technologies can drive inclusive economic growth and support scientific advancements that improve the conditions of our world. AI technologies, however, also pose risks that can negatively impact individuals, groups, organizations, communities, society, the environment, and the planet. Like risks for other types of technology, AI risks can emerge in a variety of ways and can be characterized as long- or short-term, high or low-probability, systemic or localized, and high- or low-impact. While there are myriad standards and best practices to help organizations mitigate the risks of traditional software or information-based systems, the risks posed by AI systems are in many ways unique (See Appendix B). AI systems, for example, may be trained on data that can change over time, sometimes significantly and unexpectedly, affecting system functionality and trustworthiness in ways that are hard to understand. AI systems and the contexts in which they are deployed are frequently complex, making it difficult to detect and respond to failures when they occur. AI systems are inherently socio-technical in nature, meaning they are influenced by societal dynamics and human behavior. AI risks – and benefits – can emerge from the interplay of technical aspects combined with societal factors related to how a system is used, its interactions with other AI systems, who operates it, and the social context in which it is deployed. These risks make AI a uniquely challenging technology to deploy and utilize both for organizations and within society. Without proper controls, AI systems can amplify, perpetuate, or exacerbate inequitable or undesirable outcomes for individuals and communities. With proper controls, AI systems can mitigate and manage inequitable outcomes. AI risk management is a key component of responsible development and use of AI systems. Responsible AI practices can help align the decisions about AI system design, development, and uses with intended aim and values. Core concepts in responsible AI emphasize human centricity, social responsibility, and sustainability. AI risk management can drive responsible uses and practices by prompting organizations and their internal teams who design, develop, and deploy AI to think more critically about context and potential or unexpected negative and positive impacts. Understanding and managing the risks of AI systems will help to enhance trustworthiness, and in turn, cultivate public trust.	oercommons	2025-03-18T00:34:18.993727	03/02/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/113669/overview", "title": "NIST Artificial Intelligence Risk Management Framework", "author": "Rebecca Henderson" }
https://oercommons.org/courseware/lesson/96157/overview	Education Standards Bécassine Bécassine voyage Ecoutez-moi___par_Benjamin_Rabier__bpt6k6514006d "Family Secrets" Tisseron Humour et clichés dans Les Bijoux de la Castafiore d'Hergé Humour et clichés dans L'Ile noire d'Hergé Juifs et Musulmans en Algérie pendant la colonisation française La bd francophone années 1938-1960 La BD historique française La dernière case L'enfance de Bécassine Les Schtroumpfs noirs de Célia Sadai Lexique et Concepts Fondamentaux - exercice 1 Lexique et Concepts Fondamentaux - exercice 2 L'invention de la bande dessinée onomatopées planche-bd-la-famille-fenouillard Pronoms Sexualisation. féminine bd 1960 Töpffer QA4U -- Bandes dessinées francophones Overview test overview goes here Bienvenue! [Photo by Steven Lasry on Unsplash] Bienvenue sur le site Bandes dessinées francophones! This text is meant to teach upper intermediate students of French as a second language about Francophone comic books while working on intermediate and advanced level language skills. Dr. Martine Motard-Noar, Professor of French McDaniel College Westminster, Maryland Introduction While many of these bandes dessinées can be downloaded or read online, we strongly suggest that instructors require students to purchase these comic books and clearly explain to students why cultural products are valuable and deserve to be protected by copyright laws. Additionally, this workbook can be used in conjunction with an online reference French grammar if the class is taught at the upper intermediate level. This book is intended for use at the upper intermediate or early advanced undergraduate level in French. This textbook is written in French at a level that is appropriate for the students. The number and variety of bandes dessinées studied in this book as well as the interactive nature of the activities should allow instructors to tailor the timing and choice of texts to the level of their students and the number of weeks at hand. In this way, this textbook is closer to a workbook than to a traditional textbook. Its goal is to introduce students to the close reading of comic books while exploring the history and the techniques of the genre. Bandes dessinées francophones follows a chronological order which also moves students, in a gradual way, to more sophisticated comic styles as well as stylistic styles and cultural complexity. This workbook is to be used in conjunction with a few comic books and graphic novels chosen by the instructor among the ones studied in this proposed manuscript. Table des matières Introduction Bienvenue! Table des matières [section 3] Lexique et concepts fondamentaux [section 4] CHAPITRE 1 - L'origine de la bande dessinée [section 5] CHAPITRE 2 - Rodolphe Töpffer, l'inventeur de la bande dessinée ? [section 6] CHAPITRE 3 - Bécassine (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon [section 7] CHAPITRE 4 - Les aventures de Tintin d'Hergé [section 8] CHAPITRE 5 - Les Schtroumpfs noirs de Peyo (1963) [section 9] CHAPITRE 6 - Astérix légionnaire (1967) de Goscinny et Uderzo [section 10] CHAPITRE 7 - Monopoles, influences étrangères ou coloniales et questions budgétaires [section 11] CHAPITRE 8 - Les Frustrés de Claire Bretécher (1975-1980) Ciboire de Criss ! de Julie Doucet (1996) et [section 12] CHAPITRE 9 - Le chat du rabbin: La Bar-Mitsva (2002) de Joann Sfar [section 13] CHAPITRE 10 - Poulet aux prunes (2004) de Marjane Satrapi [section 14] CHAPITRE 11 - Aya de Yopougon (2005) de Marguerite Abouet et Clément Oubrerie [section 15] CHAPITRE 12 - Moi René Tardi, prisonnier de guerre au Stalag IIB (tome 1; 2012) de Tardi [section 16] Conclusion et ouverture [section 17] Liste d'onomatopées en français [section 18] Bibliographie [section 17] Lexique et concepts fondamentaux LEXIQUE ET CONCEPTS FONDAMENTAUX DE LA BANDE DESSINÉE VOCABULAIRE Voici les termes importants pour parler de la structure de la page en bande dessinée. Regardez la page suivante pour voir le chiffre correspondant et identifier chaque élément : - une planche : la page en bande dessinée. Elle est composée de plusieurs bandes. - un cadre : un trait noir, en général, qui entoure une image - une bande ou un strip: la succession horizontale de plusieurs cases ou vignettes. Trois ou quatre bandes forment souvent une planche - une case ou une vignette : une image (en général un carré ou un rectangle) d’une bande dessinée délimitée par un cadre. - une bulle ou un phylactère : forme variable qui, dans une case, contient les paroles ou les pensées des personnages reproduites au style direct. - un appendice : il permet d’identifier le locuteur. Il prend souvent la forme d’une flèche pour les paroles et de petits ronds pour les pensées. - un cartouche : un encadré rectangulaire contenant des éléments narratifs et descriptifs assumés par le narrateur, appelés également commentaires. - une onomatopée : un mot qui imite un son. Elle représente les « sons » de la bande dessinée. - une gouttière : l’espace qui sépare les images des autres images. Cet espace est souvent blanc ou de la couleur de la page. Exercice 1. Ouvrez le fichier de l'exercice 1 et reportez le terme qui convient avec chaque numéro correspondant. LA PERSPECTIVE EN BANDE DESSINÉE Il y a quatre grandes catégories de plans (ou de perspectives) avec, du plus large au plus resserré : 1. Les plans d'ensemble, qui donnent de l'importance au décor, à la situation générale. 2. Les plans moyens, qui font ressortir le ou les personnages, tout en donnant quelques informations sur leur environnement. 3. Les plans rapprochés, qui attirent l'attention du lecteur sur des personnages, une discussion ou des objets. 4. Les gros plans et très gros plans ou zooms, qui font ressortir un visage, un objet ou un détail. Exercice 2. Ouvrez le fichier de l'exercice 2. Identifiez les différents plans et les termes corrects pour faire la description de la planche d' ALLIX-Le Dieu sans nom. Suivez les indications. CHAPITRE 1 - L'origine de la bande dessinée Discussion en classe. Après une présentation assez rapide, on peut se servir de cette discussion comme forme indirecte de préparation à la composition. La question centrale est que les spécialistes ne considèrent pas ces exemples comme constituant véritablement l'ancêtre de la bande dessinée "moderne", dans le sens où cette dernière a une dimension critique qui ne sera développée qu'au XIXe siècle avec Töpffer. Ceci dit, il est peut-être préférable de laisser les étudiants s'exprimer oralement et par écrit sur le sujet, surtout s'il s'agit du tout début du cours. Le débat et la capacité à manipuler le vocabulaire important sont probablement plus importants ici que d'avoir "raison" ou "tort". Ceci est une question qui peut-être reposée en fin de cours! Composition: La longueur de cette compostion peut varier. Chaque professeur.e se chargera de définir les paramètres, vu le niveau de leur classe et leur préférence (alinéas, marges, style, nombre de sources requises, soumission d'un brouillon initial). Voir les notes ci-dessus au sujer de la "Discussion en classe" pour lire certaines considérations vis-à-vis de réponses possibles au sujet de composition. Exercice ludique sur les terminaisons et les genres: Selon le niveau de la classe, on peut réviser de manière plus complète les terminaisons qui aident à déterminer le genre des noms dans une grammaire de référence ou en rester seulement à ce rappel. CHAPITRE 1 - L'ORIGINE DE LA BANDE DESSINÉE PREMIÈRE PARTIE Est-ce que la bande dessinée a toujours existé depuis que les humains sont sur la terre? 1. Lecture. Ouvrez le texte "L'invention de la bande dessinée", réalisé par Fanny Kerrien et Jean Auquier. Lisez l'introduction (p. 2) et "Depuis les origines, l'homme se raconte en images" (p. 3). Prenez des notes. 2. Faites une liste du vocabulaire que vous ne connaissez pas (ex: un témoignage; jalonner; une croyance; un creux; une bosse; l'art pariétal ...) \| VOCABULAIRE \| PRATIQUE \| \| avant/après notre ère (avant: avant/après J.C) \| au douzième siècle = au XIIe siècle Rappel (chiffres ordinaux): douze ... douzième treize ... treizième neuf ... neuvième un/e ... premier/première vingt-et-un ... vingt-et-unième \| \| N'OUBLIEZ PAS LA GRAMMAIRE! \| N'OUBLIEZ PAS LES TEMPS ET CONJUGAISONS! \| depuis que + présent a century ago = il y a un siècle \| verbes en -ant : le participe présent \| 3. Présentation sur la grotte Chauvet (et/ou Lascaux) en France. ekladata.com Grotte de Chauvet en France (thoughtco.com) Grotte de Lascaux en France (faculty.umb.edu) DEUXIÈME PARTIE Les fresques et mosaïques de l'Antiquité Fresque gallo-romaine de Lyon (photo.geo.fr) 4. Lisez et regardez la page 4 de "L'invention de la bande dessinée" \| RAPPEL GRAMMATICAL \| \| le futur avec aller + verbe à l'infinitif \| Le Moyen-Âge: vitraux, gravures et phylactère 5. Lisez et regardez la page 5 de "L'invention de la bande dessinée". Prenez des notes et vérifiez le vocabulaire que vous ne connaissez pas. 6. Discussion en classe au sujet de la tapisserie de Bayeux (XIe siècle). Après une présentation assez rapide sur la tapisserie de Bayeux, pensez-vous qu'il s'agit d'un "ancêtre" de la bande dessinée? (etn-net.org) 7. Composition. Regardez la vidéo (3 min.) sur la Chapelle Notre-Dame des Fontaines, intitulée "Brigue, Notre-Dame des fontaines" (https://www.youtube.com/watch?v=yVlI1CbzJ6E) et répondez à la question suivante en une à deux pages: Selon vous, est-ce que la Chapelle Notre-Dame des Fontaines en France est un exemple de bande dessinée? Église Notre-Dame-des-Fontaines en France (francetvinfo.fr) \| EXERCICE LUDIQUE SUR LES TERMINAISONS ET LES GENRES \| \| QUELS MOTS SONT : M OU F? \| invention vitrail temple fresque événement vase enluminure image siècle personnage étiquette \| CHAPITRE 2 - Rodolphe Töpffer, l'inventeur de la bande dessinée? CHAPITRE 2 - Rodolphe Töppfer (1799-1846) , celui qui est souvent considéré comme l'inventeur de la bande dessinée 1. Travail sur la biographie de Töpffer. Faites des recherches et prenez des notes SEULEMENT sur la biographie de Töpffer. Pour vous aider à faire des recherches de base en anglais et en français, servez-vous d'abord de la page Wikipedia sur Rodolphe Töpffer en anglais (https://en.wikipedia.org/wiki/Rodolphe_T%C3%B6pffer). Puis, regardez la page Wikipedia en français sur Rodolphe Töpffer (https://fr.wikipedia.org/wiki/Rodolphe_T%C3%B6pffer). Ces deux pages ne sont pas identiques mais peuvent vous aider à noter le vocabulaire pour pouvoir discuter de la biographie de Töpffer en classe. Tout le monde partagera ses recherches en classe. et 2. Discussion et présentation sur l'importance de Rodolphe Töpffer, premier théoricien de la bande dessinée. Voir Présentation Powerpoint ci-jointe. 3. La place de la narration dans les premières histoires en forme de bandes dessinées à la fin du XIXe siècle en France. Comparez et analysez les deux planches ci-jointes: celle de La Famille Fenouillard (1889) de Christophe et celle de Benjamin Rabier (1864-1939). \| ÉTUDE DES ONOMATOPÉES EN FRANÇAIS \| ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES CRIS D'ANIMAUX (CHIEN, CHAT, COCHON, CANARD, OISEAU, GRENOUILLE...) \| ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES BRUITS HUMAINS \| ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES BRUITS D'OBJETS INANIMÉS (PORTE, TONNERRE, VOITURE, VERRE CASSÉ ...) \| 4. Exercice. Ajoutez des mots (sous forme de cartouche, narration ou bulles) à la planche de Benjamin Rabier. Chaque case doit contenir un mot au minimum. Donnez aussi un titre à la planche. Vous pouvez utiliser des onomatopées si vous le désirez. 5. L'impact de la caricature dans la presse humoristique sur le développement de la bande dessinée francophone au Québec, puis en Afrique, jusque dans les années 1960. L'importance de la caricature dans le développment de la bande dessinée francophone n'est pas seulement un phénomène suisse, français, belge ou européen. Mira Falardeau mentionne, dans Histoire de la bande dessinée au Québec (Montréal, VLB éditeur, 2008), que "les histoires en imges, ancêtres des bandes dessinées, font leur apparition dans la presse d'opinion à peu près en même temps que les caricatures." (17) Le journal Le Charivari canadien, journal humoristique illustré, commence, dès 1844, à proposer des histoires sous forme de colonnes verticales avec illustrations humoristiques. Falardeau inclut l'illustration ci-jointe, intitulée "Anonyme, L'aide de camp, Le Charivari canadien, Montréal, 1844" (19). L'impact de la colonisation en Afrique francophone fait que le développement de la presse et de la bande dessinée est plus complexe. En effet, les débuts du dessin humoristique, dans la première moitié du vingtième siècle, semblent être portés par une vision coloniale moralisatrice. Dans Histoire de la bd congolaise, Christophe Cassiau-Haurie résume, pour ce qui est de la RDC : "Avant l'indépendance, plusieurs journaux éditent des petits strips de qualité médiocre mettant en scène des Africains. Mais ces illustrations relèvent plus du dessin de presse ou du strip à peine ébauché que de la BD. Seules les années [19]50 verront le démarrage de ce nouveau genre." (Paris, L'Harmattan, 2010, 15). Lisez les pages de récapitulation du statut de la bande dessinée en Afrique francophone au milieu du XXe siècle faite par Cassiau-Haurie ("La série Mukwapamba fait-elle du Congo le premier pays d'Afrique en matière du 9e art? " pp. 23-25) CHAPITRE 3 - "Bécassine" (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon: la première héroïne de bande dessinée et la première femme scénariste de bande dessinée Les aventures de Bécassine sont très courtes et simples à comprendre; il est conseillé d'en lire plusieurs avec les étudiants, selon le temps alloué à ce chapitre. Ex. 4 sur les temps. N'hésitez pas à demander aux étudiants d'établir des listes des verbes rencontrés dans chaque histoire lue et de les trier par temps/conjugaison. Ex. 5. Cet exercice peut donner lieu à un devoir de composition un peu plus développé et restructuré. Il peut donner l'occasion de faire une composition sur table. Ex. 7. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français) CHAPITRE 3 - Bécassine (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon (bobdemoor.info) Certaines des aventures de Bécassine sont disponibles gratuitement en ligne. Pour les lire, allez sur le site de la bibliothèque de Michigan State University où elles sont accessibles au public: album-Caumery & Pinchon L'enfance de Bécassine (1913) https://d.lib.msu.edu/gnn/1122#page/6/mode/2up (disponible aussi en pdf en pièce jointe) ou sur le site des archives nationales: album-Caumery & Pinchon Bécassine voyage (1921) https://ia802809.us.archive.org/18/items/bcassinevoyage00pincuoft/bcassinevoyage00pincuoft.pdf (disponible aussi en pdf en pièce jointe) 1. Travail de recherche historique. Faites des recherches pour expliquer: 1. quand, où et comment les histoires de Becassine sont nées 2. pourquoi la naissance de Bécassine est accidentelle. Donnez aussi le nom de la première scénariste de bande dessinée en France (et peut-être dans le monde!). Apportez vos notes en classe pour en discuter ensemble. 2. Travail de recherche lexicale. Le nom "Bécassine" vient du nom "bécasse". Expliquez les différentes significations du nom "bécasse". (oiseaux-birds.com) a. b. et 3. Spécificités culturelles: pour mieux comprendre "Bécassine". Discussion de classe à partir de la présentation Powerpoint "Bécassine" (voir document ci-joint) pour parler de vos recherches (voir exercices 1 et 2 ci-dessus). 4. Temps et conjugaisons--révisions et approfondissement. 5. La bande dessinée: un genre fait pour les enfants. Avec les premiers albums de Töpffer et Bécassine, la bande dessinée francophone devient un genre fait pour les enfants. Pourriez-vous nommer 10 aspects qui montrent comment Bécassine s'adresse à un public enfantin? Donnez un exemple précis pour chaque aspect.a. b. c. d. e. f. g. h. i. j. 6. Vocabulaire essentiel. Faites une liste de 20 mots ou expressions essentiels pour pouvoir parler de Bécassine et des aventures que vous avez lues. N'oubliez pas d'indiquer le genre pour les noms! 7. Composition. Faites des recherches sur un livre pour enfants américain des années 1960, lui aussi très connu: Amelia Bedelia de Peggy Parish et Fritz Siebel. Dans votre composition, comparez Bécassine et Amelia Bedelia et leurs séries sous tous leurs aspects. \| (newyorker.com) (bobdemoor.info) CHAPITRE 4 - "Les aventures de Tintin" d'Hergé NOTE GÉNÉRALE: L'Île noire est un album de 62 pages. Chaque professeur peut découper la lecture de cette aventure en sessions plus ou moins rapides. Au niveau intermédiaire/intermédiaire avancé, je suggère 3-4 sessions d'une heure, soit un rythme de 15-20 pages par session, sachant que ceci n'est qu'une suggestion! Exercice 2. Questions pour guider votre lecture. Ces questions peuvent être réordonnées vis-à-vis du rythme de lecture de la classe. Elles suivent l'ordre de lecture de l'album et ne sont pas à donner en bloc aux étudiants. Elles peuvent aussi aider à guider les discussions de classe. Le but de ces questions est de faire comprendre aux étudiants la complexité ambigüe du personnage de Tintin (quasiment un enfant, sans famille, aux allures de détective même s'il est décrit comme reporter). L'autre but est de souligner la structure narrative d'une bande dessinée. La présentation Powerpoint, intitulée "La dernière case" peut servir d'exercice de discussion en classe. Exercice 3. Recherche et présentation sur "la ligne claire" et Hergé. Cette présentation peut être faite de manière formelle par un.e des étudiant.e.s ou par un petit groupe, les autres étudiant.e.s devant ajouter les éléments ou aspects que la présentation n'a pas évoqué. Cette présentation peut être aussi partagée (avec narration pré-enregistrée) par toute la classe sur un site comme Blackboard et utilisée en tant qu'évaluation individuelle ou de groupes avec ensuite une récapitulation faite en classe. Exercice 5. Humour et clichés dans L'Île noire d'Hergé. Utilisez le Powerpoint ci-joint pour éliciter des éléments d'analyse et de critique au sujet de l'album. on peut ajouter des considérations supplémentaires et parler d'albums aussi problématiques que Tintin au pays des Soviets (stéréotypes) et Tintin au Congo (racisme). Exercice 6. Composition. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français). L'article de Tisseron inclus ici est en traduction anglaise dû à la difficulté des idées qui s'y trouvent. Cependant, selon le niveau de la classe, on peut soumettre les idées de Tisseron dans sa version originale. L'article de Tisseron peut faire l'objet d'une discussion de classe bien avant la date de soumission de la composition afin de s'assurer que les étudiants ont bien compris les idées et propositions de Serge Tisseron. CHAPITRE 4 - LES AVENTURES DE TINTIN D'HERGÉ (tintin.com) 1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Georges Remi, l'auteur des Aventures de Tintin. Concentrez-vous sur les moments importants. Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8). Choix et études de 2 aventures L’Île Noire (1938; 2e édition en 1943) Quoique des copies pdf de l''album L'Île noire soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions. ÉTUDE DES ONOMATOPÉES EN FRANÇAIS (SUITE) \| \| Dans le deuxième chapitre, nous avons commencé à apprendre des onomatopées. Continuez à faire une liste de ces onomatopées au fur et à mesure que vous lisez l'album de Tintin : \| \| Onomatopées déjà étudiées/lues:Ex : bêê-ê (p. 9)Nouvelles onomatopées:Ex : pan! (p. 1) \| 2. Questions pour guider votre lecture. Les questions suivantes peuvent guider votre lecture et vous aider à analyser L'Île noire. a. Qui est Tintin? Faites une description de son apparence physique. Quel âge a-t-il, selon vous? A-t-il une profession? b. L'aventure est-elle finie à la fin de la première planche ou page? Est-ce que Tintin est mort? c. Observez la construction des cases de la première planche ou page. Quelle structure voyez-vous? d. Faites une description physique de M. Dupont and M. Dupond. Quelle est leur spécificité en tant que personnage? e. Très vite, nous voyons la personnalité de Tintin. Quelle est sa personnalité? f. Dans quel pays est-ce que Tintin arrive à la page 7? g. Comment est Milou? Quelle est son utilité en tant que personnage dans l'histoire? h. Qui est Dr. J.W. Müller? i. Lisez ou relisez le passage (pp. 15-22) où Tintin est chez le docteur Müller. Cette aventure est-elle crédible ou non? Expliquez en détails. j. Nommez les deux passages qui, selon vous, sont les plus comiques dans cet album. Expliquez en détails ce qui est comique. k. Que se passe-t-il avec Milou à la page 34 et à la page 35? l. Pouvez faire une liste rapide et compter le nombre de fois où Tintin est attaqué ou se fait mal? m. Ranko, un gorille, semble faire référence à quel autre gorille? Quelles sont les similarités et les différences? PAUSE TEMPS ET CONJUGAISONS \| 1. Étude ou révision, dans une grammaire de référence ou en ligne, de l'impératif, omniprésent dans les histoires de Tintin. Voir, par exemple, "Allons voir" (p. 1) dans L'Ile noire. Relevez aussi "Lâchez-moi" (p. 3) ou "donne-la-moi" (p. 4). 2. Étude ou révision, dans une grammaire de référence ou en ligne, de l'accord du participe passé (avec avoir) avec l'objet direct placé avant le verbe, comme, par exemple, "ils nous ont dépassés" (p. 7). 3. Étude ou révision, dans une grammaire de référence ou en ligne, de la voix passive, comme, par exemple, "l'avion a été retrouvé" (p. 11). \| 3. Recherche et présentation sur "la ligne claire" chez Hergé. Faites des recherches sur le style de "la ligne claire" et Hergé et préparez un Powerpoint avec 2-3 diapositives pour l'expliquer en classe de la manière la plus complète possible. 4. Avez-vous remarqué? Dans les aventures de Tintin et dans beaucoup de bandes dessinées (en français et dans d'autres langues), on voit souvent des interjections et des adverbes pour indiquer rapidement le sens d'une action ou une émotion, des aspects un peu difficiles à montrer clairement dans un dessin. Vous trouverez quelques-uns de ces mots ou expressions ci-dessous. Continuez la liste: -hélas -tant pis! -voyons -zut -çà alors! - - - - \| - dommage! -dis donc -avant tout -tiens - - - - - \| 5. Humour et clichés dans L'Ile noire d'Hergé. Présentation et discussion au sujet de l'humour et des clichés présents dans l'album L'Île noire (voir Powerpoint ci-joint). 6. Composition. Après avoir lu l'article de Serge Tisseron, intitulé "Family Secrets and Social memory in Les Aventures de Tintin" (Yale French Studies), pensez-vous être d'accord avec son approche psychologique/psychoanalytique de Tintin et du "secret de famille" révélé à travers tous ses albums? Ou pensez-vous que Ranko est simplement un autre King Kong? Expliquez votre position avec des détails précis pris dans L'Île noire. L'article est accessible gratuitement sur jstor: http://www.jstor.org/stable/3090597. Il est aussi inclus dans ce chapitre. Les Bijoux de la Castafiore (1963) Quoique des copies pdf de l''album Les Bijoux de la Castafiore soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions. ÉTUDE DES ONOMATOPÉES EN FRANÇAIS (SUITE) \| \| Dans le deuxième chapitre, nous avons commencé à apprendre des onomatopées. Continuez à faire une liste de ces onomatopées au fur et à mesure que vous lisez l'album deTintin : \| \| Onomatopées déjà étudiées/lues:Ex : bêê-ê (p. 9)Nouvelles onomatopées:Ex : Ouille (p. 46) \| 2. Questions pour guider votre lecture. Les questions suivantes peuvent guider votre lecture et vous aider à analyser Les Bijoux de la Castafiore. a. Qui est Tintin? Faites une description de son apparence physique. Quel âge a-t-il, selon vous? A-t-il une activité professionnelle? Quelle est sa relation avec le capitaine Haddock? b. Faites une description du capitaine Haddock. Quel est son tempérament? Comparez-le à Tintin. c. Tryphon: qui est-il? Quel est l'intérêt de ce personnage? d. Identifiez 3 planches/pages qui sont différentes les unes des autres du point de vue de la structure de leurs cases. Expliquez l'impact qu'ont ces différentes structures et les raisons derrière le choix d'Hergé. e. Faites une description physique du professeur Tournesol. Quelle est sa spécificité et son intérêt en tant que personnage? En quoi est-il différent des autres personnages? f. Très vite, nous voyons la personnalité de Tintin dans l'épisode des tziganes. Quelle est sa personnalité au début ey jusqu'à la fin? g. Comment est Milou? Quelle est son utilité en tant que personnage dans l'histoire? Donnez des détaisl précis. h. Faites une description de la Castafiore. Pourquoi est-elle un personnage comique (et frustrant pour le capitaine Haddock!)? i. Qui est-ce qu'on accuse d'avoir volé l'émeraude et qui l'a volée finalement? j. Nommez les deux passages qui, selon vous, sont les plus comiques dans cet album. Expliquez en détails ce qui est comique. k. M. Dupont et M. Dupond sont des personnages très différents des autres, physiquement et dans leurs actions et paroles. Expliquez. l. Pouvez faire une liste et compter le nombre de fois et les différentes occasions où Tintin se transforme en détective? PAUSE TEMPS ET CONJUGAISONS \| 1. Étude ou révision, dans une grammaire de référence ou en ligne, de l'impératif, omniprésent dans les histoires de Tintin. Voir, par exemple, "Emplissez" (p. 1) dans Les Bijoux de la Castafiore. Relevez aussi "Laisse-moi parler" (p. 4) ou "soyez sans crainte" (p. 15) ou encore "surtout n'en faites rien" (p. 21). 2. Étude ou révision, dans une grammaire de référence ou en ligne, de l'accord du participe passé (avec avoir) avec l'objet direct placé avant le verbe, comme, par exemple, "elle m'a mordu" et "vous l'avez effrayée" (p. 2). 3. Étude ou révision, dans une grammaire de référence ou en ligne, de la voix passive, comme, par exemple, "j'ai été mordu" (p. 13). \| 3. Recherche et présentation sur "la ligne claire" chez Hergé. Faites des recherches sur le style de "la ligne claire" et Hergé et préparez un Powerpoint avec 2-3 diapositives pour l'expliquer en classe de la manière la plus complète possible. 4. Avez-vous remarqué? Dans les aventures de Tintin et dans beaucoup de bandes dessinées (en français et dans d'autres langues), on voit souvent des interjections et des adverbes pour indiquer rapidement le sens d'une action ou une émotion, des aspects un peu difficiles à montrer clairement dans un dessin. Vous trouverez quelques-uns de ces mots ou expressions ci-dessous. Continuez la liste: -Tiens! -Saperlipopette! -mille sabords! - - - - - \| - Qui sait? -Chut! - - - - - - - \| 5. Humour et clichés dans Les Bijoux de la Castafiore d'Hergé. Présentation et discussion au sujet de l'humour et des clichés présents dans l'album Les Bijoux de la Castafiore (voir Powerpoint ci-joint). 6. Composition. Après avoir lu l'article de Serge Tisseron, intitulé "Family Secrets and Social memory in Les Aventures de Tintin" (Yale French Studies), pensez-vous être d'accord avec son approche psychologique/psychoanalytique de Tintin et du "secret de famille" révélé à travers tous ses albums? Expliquez votre position avec des détails précis pris dans Les Bijoux de la Castafiore. L'article est accessible gratuitement sur jstor: http://www.jstor.org/stable/3090597. Il est aussi inclus dans ce chapitre. CHAPITRE 5 - "Les Schtroumpfs noirs" (1963) de Peyo NOTE : L'histoire des "Schtroumpfs noirs" est très courte (19 pages) et peut être lue et discutée en 2-3 cours. Ex. 1. Le pays et le village schtroumpfs. Cet exercice peut se faire sans préparation préalable et en paires comme exercice d'échauffement et d'introduction. Ex. 8. Composition. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français). CHAPITRE 5 - Les Schtroumpfs noirs (1963) de Peyo Quoique des copies pdf de l'histoire des "Schtroumpfs noirs" (pp. 3-22) dans l'album Les Schtroumpfs noirs soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions. Avant de commencer: que se passe-t-il pendant qu'Hergé et Peyo dessinent leurs bandes dessinées (1938-1960)? Regardez et écoutez laprésentation Powerpoint courte et contextuelle intitulée "La bd francophone pendant les années 1938-1960". (Editions Dupuis) 1. Le pays et le village schtroumpfs. Regardez l'image ci-dessus, qui est la première case de la bande dessinée de Peyo. Écrivez 3-4 phrases complètes qui décrivent ou analysent le caractère idyllique de ce pays et de ce village. Vous pouvez utilisez d'autres cases ou pages si vous avez déjà lu les premières pages de l'histoire. 2. Le langage Schtroumpf : exercice de définition et d’analyse. La deuxième case de cette bédé indique clairement que "les Schtroumpfs ont un langage bien particulier". Pouvez-vous faire une liste de 10 exemples de mots ou expressions qui font partie du langage schtroumpf et pouvez-vous en faire la traduction en français? Que remarquez-vous? \| Langue schtroumpf \| Traduction en français \| Ex: On va schtroumpfer au pont sur la rivière Schtroumpf (p. 3) - - - - - - - - - - \| -On va travailler au pont sur la rivière Schtroumpf - - - - - - - - - - \| 3. Discussion en groupe: le Grand Schtroumpf et le petit schtroumpf paresseux. Discutez en groupe des sujets suivants et répondez aux questions avant d'en parler tous ensemble?a. Qui est le Grand Schtroumpf? Comment est-il physiquement? Est-il différent des autres Schtroumpfs? De quoi est-il responsable? À la page 22, la dernière page, il est accusé de ne pas avoir de sens de l'humour--expliquez.b. De nombreux critiques ont trouvé que le Grand Schtroumpf et son village rappellent le communisme et en sont une une métaphore critique. Pourriez-vous expliquer la logique derrière cette analyse? Veuillez vérifier la date de publication de cette bande dessinée.c. Finalement, pour vous, qu'est-ce que le Grand Schtroumpf représente et pourquoi ? 4. Vocabulaire: auto-évaluation. Traduisez les mots suivants en anglais sans consulter un dictionnaire. Ce vocabulaire vient directement des Schtroumpfs noirs. Testez-vous d'abord. Si vous ne connaissez pas la signification d'un mot, essayez de le remplacer par un autre mot que vous avez appris dans cette bande dessinée.Puis vérifiez ensuite les mots dont vous n'étiez pas sûrs dans un dictionnaire ! 5. Un monde sans fille ou femme? Regardez et écoutez la présentation Powerpoint sur "La sexualisation féminine de la bd francophone des années 1960". 6. Lecture: lisez l'article de Célia Sadai intitulé "Les Schtroumpfs noirs de Peyo ou l'ambiguïté problématique de la bande dessinée coloniale", La Plume francophone (2 juillet 2014), disponible en ligne: https://la-plume-francophone.com/2014/07/02/peyo-les-schtroumpfs-noirs/ ou en pièce jointe. 7. Discussion sur le racisme dans Les Schroumpfs noirs après la lecture de l'article de Célia Sadai. Question: que pensez-vous de cette histoire et de son message raciste conscient ou inconscient? Expliquez. 8. Composition. Répondez à la question suivante: Pensez-vous que ce cours devrait continuer à exposer les étudiants de français à ce mini-récit ou pensez-vous qu'on devrait ni le publier ni l'étudier? Expliquez. \| CHAPITRE 6 - "Astérix légionnaire" (1967) de Goscinny et Uderzo Ex. 2. Cet exercice de recherche peut être fait sous la forme d'un devoir personnel ou à faire en groupe. CHAPITRE 6 - Astérix légionnaire (1967) de Goscinny et Uderzo Quoique des copies pdf de l'histoire de l'album Astérix légionnaire soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions. Pour commencer 1. Activité d'introduction: Comment le personnage d'Astérix est-il né? Faites des recherches sur la genèse d'Astérix et répondez aux questions suivantes avec des phrases complètes. Vous pouvez utiliser les documents de votre choix (documents vidéo ou non). Goscinny et Uderzo ont donné des interviews relativements courtes au sujet de la naissance d'Astérix. Ces interviews se trouvent en ligne : Quand Goscinny et Uderzo ont-ils commencé à collaborer ? Était-ce avant ou après la création d’Astérix ? ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... Quel est le rôle de Goscinny et quel est le rôle d’Uderzo dans cette bande dessinée ? ..................................................................................................................................... ..................................................................................................................................... Avant Astérix, quel genre d’histoires est-ce que Goscinny et Uderzo créaient—des histoires sérieuses ou des histoires humoristiques ? ..................................................................................................................................... Quel était le public pour lequel ils ont inventé Astérix et pourquoi Goscinny a-t-il choisi une histoire et un personnage gaulois ? Pourquoi a-t-il choisi cette période historique ? ..................................................................................................................................... .................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... Réalités économiques - Le succès de la série Astérix en chiffressérie de 39 albumstraduit en 111 langues et dialectesplus de 370 millions d'albums vendus dans le monde2 millions d'exemplaires vendus en français pour chaque albumParc Astérix - 2e parc d'attraction en France après Disneylandversions filmées nombreusesfilms d'animation (en plusieurs langues)jeux vidéo produits dérivés de toutes sortes (tee-shirts, poupées, gadgets, porte-clés, etc...) \| 2. Biographies de Goscinny et Uderzo: Influences potentielles sur leur travail respectif de scénariste et de dessinateur. Étudiez les biographies de Goscinny et Uderzo (disponibles sur Internet) et cherchez des influences potentielles sur leur talent artistique en répondant aux questions suivantes : \| Goscinny \| Uderzo \| \| Patoruzú est un personnage de bd qui a connu un immense succès en Argentine de 1928 à 1977. Expliquez les raisons possibles de l’influence de Patoruzú sur Goscinny ? \| \|\| Nommez 2 des spécificités de Patoruzú et de son frère (Upa), présentes dans Astérix et Obélix et visibles dès la première page ? Nommez une spécificité déterminée par le scénariste et une spécificité visuelle, déterminée par Uderzo en accord avec Goscinny. \| \|\| Faites une description des rayures du pantalon d’Obélix. Quelle équipe de football porte ces sortes de rayures ? Pensez-vous que ce soit le choix de Goscinny ou le choix d’Uderzo ? \| \|\| Marquez qui a vécu à New York en 1945 et a essayé de travailler pour Walt Disney...en vain. Est-ce Goscinny ou Uderzo ? Selon vous, qu’est-ce que ce désir semble indiquer ? Quel serait l’impact possible sur Astérix ? \| \|\| Où est-ce que Goscinny et Uderzo se sont rencontrés avant de travailler sur Astérix ? Expliquez pourquoi ceci est important. \| \|\| Quelle est la date de publication de l’album Astérix légionnaire et à quelle période historique est-ce que cela correspond en Europe et en général ? Comment est-ce que cette période a pu influencer les deux auteurs ? \| \| 3. Pour comprendre le début de l'histoire. Lisez le texte de la page 3 à la page 13 et finissez les phrases suivantes ou répondez aux questions en français avec le mot de vocabulaire qui se trouve à la page mentionnée. Vous pouvez utiliser un dictionnaire : 1. Le 31 décembre à minuit, on s'embrasse souvent sous un bouquet de .................. (p. 5). 2. Quelle sorte d'arbre est-ce: .......................... (p. 10). 3. Voici un casque: . Un casque peut aussi ressembler à ceci: [essayez d'en dsessiner un!] (p. 11). 4. Quel est l'animal qu'Obélix adore manger? ........................................... (p. 6). 5. Obélix est si amoureux qu'il ne mange plus. Au lieu de manger, il pousse de gros ............................. (p. 6). 6. Qu'est-ce que c'est? ........................................... (p. 7). 7. Se cogner à un arbre, est-ce que cela fait mal ou pas? ..................................................... (p. 9). 8. Les Romains piétinent les fleurs bleues dans la forêt. La première syllabe du verbe "piétiner" (p. 10) fait référence à un: ....................... 9. Traduisez en anglais: des renforts: ........................................... (p. 13) Maintenant, écrivez comment on dit en français: to reinforce: ............................................... 10. Trouvez un synonyme français pour le mot "colosse" (p. 10) : ........................................... 4. Lecture: Travail sur le contexte historique. Continuons à lire les pages 3-13. Où sommes-nous exactement dans cet album dès le début ? Quel est le contexte historique? Qui sont les personnages principaux ? Répondez aux questions suivantes : Où ? a. Où se trouve ce village gaulois exactement ? Dans quelle région se trouve-t-il exactement? ..................................................................................................................................................................................... ..................................................................................................................................................................................... b. Quelle est la taille de ce village ? Y a-t-il d'autres villages gaulois ? ..................................................................................................................................................................................... ..................................................................................................................................................................................... Quand ? a. Quelle est la date? Que se passe-t-il en Gaule à cette époque? ..................................................................................................................................................................................... ..................................................................................................................................................................................... b. Regardez le drapeau et le blason (p. 3), symboles de l'empire romain écrasant la Gaule. Faites des recherches pour trouver les armoiries du Troisième Reich d'Hitler et comparez les deux. ..................................................................................................................................................................................... ..................................................................................................................................................................................... Qui ? a. Faites la liste des quatre garnisons de légionnaires stationnées autour du village gaulois, en changeant les V latins en U modernes (p. 3). Puis essayez d'expliquer la signification de chaque nom : Garnison 1 : ..................................................................................................................................................................................... ..................................................................................................................................................................................... Garnison 2 : ..................................................................................................................................................................................... ..................................................................................................................................................................................... Garnison 3 : ..................................................................................................................................................................................... ..................................................................................................................................................................................... Garnison 4 : ..................................................................................................................................................................................... ..................................................................................................................................................................................... b. Lisez la bande dessinée jusqu'à la page 13. Faites la liste des six personnages décrits à la page 4 et ajoutez le nouveau personnage qui apparaît à la page 7, le personnage dont on parle à la page 8 et les deux personnages dont on parle à la page 12. Pour ces 10 personnages, essayez de trouver une signification ou raison d'être de chaque nom. 1. ............................................................................................................................................................. ............................................................................................................................................................ 2. ............................................................................................................................................................. ............................................................................................................................................................ 3. ............................................................................................................................................................ ............................................................................................................................................................ 4. ............................................................................................................................................................. ............................................................................................................................................................ 5. ............................................................................................................................................................. ............................................................................................................................................................ 6. ............................................................................................................................................................. ............................................................................................................................................................ 7. ............................................................................................................................................................. ............................................................................................................................................................ 8. ............................................................................................................................................................ ............................................................................................................................................................ 9. ............................................................................................................................................................ ............................................................................................................................................................ 10. ............................................................................................................................................................. ............................................................................................................................................................ Pour continuer ... (Astérix et Obélix à Condate, pp. 14-27) 5. Compréhension du vocabulaire. Lisez la bande dessinée de la page 14 à la page 27 et finissez les phrases suivantes ou répondez aux questions avec le mot de vocabulaire qui se trouve à la page mentionnée. Vous pouvez utiliser un dictionnaire : a. Trouvez le synonyme de "rire" : .................................................. (p. 20). b. En général, la farine pour faire le pain est une farine de ............................ (p. 24). c. Quel est le contraire de l'expression "au crépuscule" ? ......................................... (p. 27). d. Quelle sorte d'oiseau est-ce ? ......................................... (p. 21). e. Trouvez un synonyme de "inscrire" en français: .............................................. (p. 18). f. Une marmite est : a. une grosse casserole ou b. de la nourriture (p. 25) ? h. Normalement, on ........................................... à la police quand une injustice a été commise (p. 22). i. Si vous ne voulez pas dîner chez vous, vous pouvez aller das un café, dans un restaurant ou dans .................................................... (p. 18). j. "Malin" en français est le contraire de "stupide". Quelle est la signification de "faire le malin" (p. 27) ? Expliquez en français, si possible. .............................................................................................................................................................................................. k. Un ....................................... est une prison, en général, dans un donjon à l'intérieur d'une forteresse (p. 25). 6. Les bureaux de la légion (pp. 15-17). Épisode comique et satirique. Analysez le comique et la satire dans cet épisode en répondant aux questions suivantes : a. Au début de cet épisode, Astérix cherche un certain bureau. Lequel et pourquoi ? ..................................................................................................................................... ..................................................................................................................................... b. Est-ce qu'Astérix reçoit une réponse assez rapide ? ..................................................................................................................................... ..................................................................................................................................... c. Avez-vous eu une expérience identique à l'expérience d'Astérix ? Est-ce un épisode relativement réaliste? Expliquez. ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... d. Expliquez comment l'anachronsime ici (l'histoire se passe sous l'empire romain!) aide à renforcer l'aspect comique de la situation et la satire de l'administration. ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... 7. Les volontaires pour la légion romaine (pp. 18-27) - Quand le comique est visible! Voici la carte de l'empire romain : a. Identifiez la région d'où vient chaque volontaire, présenté de la page 18 à la page 27. Marquez la région d'origine de chaque volontaire avec une croix ou une flèche. Identifiez ensuite la région d’où vient chaque volontaire, présenté de la page 18 à la page 27 (voir ci-dessous). b. Notez comment leur nom est un jeu de mots (comique, bien sûr !). Suggestion : prononcez leur nom à voix haute en français pour mieux comprendre leur signification (voir ci-dessous). c. Puis, faites une description de la manière avec laquelle Goscinny et Uderzo représentent la langue de chaque volontaire (voir ci-dessous). d. Résumez le point de vue ou la personnalité de chaque volontaire et ce qu'ils aiment ou non (voir ci-dessous). 1. Plazadetoros Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... 2. Faupayélatax Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... 3. Chimeric Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... 4. Figuralégoric Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... 5. Courdeténis Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... 6. Astérix et Obélix Région d'origine : ............................................... Signification (comique) de leur langue : .................................................. Représentation graphique de leur langue : ............................................................ Personnalité ou point de vue : ...................................................................... e. Tous ces personnages, mis ensemble, contribuent au comique de la situation. Comment et pourquoi? Répondez en un ou deux paragraphe(s). ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... Continuons ... 8. Préparation personnelle du vocabulaire: la marche vers Condate (pp. 28-32). Faites une liste personnelle de 5 mots ou expressions de vocabulaire que vous ne connaissie pas avant et qui sont dans ces 5 pages (pp. 28-32). Expliquez leur signification en français : a. ............................................................................................................................................................... b. ............................................................................................................................................................... c. ............................................................................................................................................................... d. ............................................................................................................................................................... e. ............................................................................................................................................................... 9. Discussion/composition sur les effets comiques dans Astérix. Dans son essai, intitulé Le Rire. Essai sur la signification du comique (1900), le philosophe Henri Bergson a essayé d'analyser différents mécanismes et effets comiques. Il y identifie plusieurs procédés comiques:-le comique de répétition-le phénomène du "pantin à ficelles" (quand le personnage, raide comme une marionnette, n'est pas libre de ses actions ou de ses pensées)-le comique d'inversion et de renversement de situation-le comique d'interférence \| Lisez l'encadré ci-dessus qui résume la théorie de Bergson et répondez à la question suivante : Selon vous, quelles formes de comique pouvez-vous identifier dans Astérix légionnaire et quelle(s) forme(s) de comique pouvez-vous identifiez en particulier dans la séquence de la marche de Condate à Massalia (pp. 28-32)? Donnez des exemples précis. Vous pouvez utiliser la note ci-dessus au sujet de la théorie de Bergson: ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... 10. Le départ de Massilia et la traversée de la Méditerranée (pp. 33-35 et p. 47). Le gag récurrent des pirates et l'image flagrante et répétée des années 1960 Les pirates L’arrivée d’un bateau de pirates, qui a toujours pour conséquence un naufrage, est un gag burlesque et récurrent dans la série Astérix à partir de 1964 (avec Astérix gladiateur) et jusque dans les années 1990 (dans les albums dessinés par Uderzo). Ce gag se répète aussi à l’intérieur même d’Astérix légionnaire (le deuxième naufrage se trouve à la page 47). Dans son article « Astérix et les pirates : Une esthétique du naufrage pour rire », Nelly Feuerhahn explique l’intérêt de ces épisodes ainsi : « Goscinny et Uderzo soumettent la bande dessinée à une esthétique du désordre humoristique. [...] Toute histoire est fondée sur un déséquilibre auquel le ou les héros doivent remédier par leurs actions. » (Ethnologie française, juin-septembre 1998, pp. 337-338). La présentation du pirate africain Graphiquement (lèvres accentuées) et verbalement (omission des sons « r »), la présentation du pirate africain perché dans le nid-de-pie (p. 34 et p. 47) rend la lecture d’Astérix légionnaire problématique. Pour rendre ce portrait et la lecture de l’album encore plus complexes, la première vignette du second strip à la page 35 montre ce pirate africain comme l’un des rescapés du naufrage les plus actifs. De plus, cette vignette est un pastiche du célèbre « Radeau de la Méduse » (1819) de Théodore Géricault. Le pirate africain est l’un des deux seuls héros qui cherchent à attirer l’attention d’un bateau pour les secourir et c’est lui qui a le dernier mot de l’histoire face au capitaine à la page 47 d’Astérix légionnaire. Nous voyons clairement ici la critique du capitaine du bateau des pirates qui n’a rien fait pour aider à la page 35 et a simplement prononcé « Je suis médusé ! », un jeu de mots évident pour faire référence au tableau pastiché. (en.wikipedia.org) Faites des recherches au sujet du "Radeau de la Méduse" de Géricault et répondez à la question suivante : Que pensez-vous de ces pages (pp. 34-35 et p. 47) ? Vous avez presque fini de lire Astérix légionnaire. Cet épisode gâche-t-il le reste de l'histoire pour vous? Comment voyez-vous la richesse potentielle du pastiche du tableau " Le Radeau de la Méduse" et aussi la présence d'un dessin raciste dans cet album d'une série française, publiée tout au long de la seconde moitié du XXe siècle? ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ ................................................................................................................................................ \| PAUSE GRAMMATICALE \| "Je ne pense pas qu'il y ait de la cervoise" (p. 37) \| Pourquoi le subjonctif "ait" ici? Étude ou révision du subjonctif \| 11. Astérix et les allusions historiques (p. 44). L’épisode de la page 44 fait allusion à la bataille de Thapsus (aujourd’hui en Tunisie) en 46 avant notre ère entre les forces de Jules César et l’armée de Scipion. Il s’agit à nouveau d’une allusion historique. Faites des recherches au sujet de la bataille de Thapsus et identifiez 3 différences ou aspects incomplets entre la version historique et la version de Goscinny et Uderzo : - ..................................................................................................................................... - ..................................................................................................................................... - ..................................................................................................................................... Finalement, expliquez pourquoi cet épisode très court ne sert pas simplement d'allusion historique. Donnez deux raisons pour lesquelles les auteurs, selon vous, ont fait cette allusion et inclus cet épisode. - ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... - ..................................................................................................................................... ..................................................................................................................................... .................................................................................................................................... Pour conclure ... 12. Falbala et Tragicomix (pp. 47-48). Étudiez le portrait physique et psychologique de Falbala et de Tragicomix. Répondez aux questions suivantes: a. Physiquement, à quels autres héros de bande dessinée Falbala et tragicomix ressemblent-ils? Faites une description des vêtements et de l'apparence physique des deux personnages. Voyez-vous une influence potentielle ici (vous pouvez vous référer à l'activité 1 d'introduction dans ce chapitre) ? Falbala : ............................................................................................................................ ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... Tragicomix : ............................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... b. Quelle analyse psychologique feriez-vous de Falbala et de Tragicomix ? Falbala : ...................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... Tragicomix : ............................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... c. Est-ce qu'il y a d'autres personnages masculins comme Tragicomix et d'autres personnages féminins comme Falbala dans Astérix légionnaire ? ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... d. Selon vous, quelles sont les raisons derrière le choix de ces personnages dans cette bédé ? ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... 13. "The Flying Deuces" - Exercice de conversation et/ou de composition. Le scénario du film "The Flying Deuces" (1939; 1 hre 8 min.) avec Laurel et Hardy semble avoir inspiré, directement ou indirectement, Astérix légionnaire, spécialement pour le début de l'histoire. Question: Regardez ce film, qui est disponible sur Internet, et notez les similarités et les différences. En quoi sont-elles intéressantes? ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... .................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... ..................................................................................................................................... .................................................................................................................................... ..................................................................................................................................... .................................................................................................................................... CHAPITRE 7 - Monopoles, influences étrangères ou coloniales et questions budgétaires CHAPITRE 7 - Monopoles, influences étrangères ou coloniales et questions budgétaires Que se passe-t-il dans le domaine de la bd en dehors de l'Europe francophone au milieu du XXe siècle ? 1. Au Québec. "Comme la plupart des arts au Québec, la bande dessinée souffre d'une double concurrence, européenne et américaine." (Mira Falardeau, Histoire de la bande dessinée au Québec, Vlb éditeur, Montréal, 2008, p. 183) Comme le rapporte Mira Falardeau, le Québec, tout comme la Suisse ou la France ou encore la Belgique, voit ses premiers chroniqueurs et dessinateurs humoristiques au XIXe siècle. Ces dessins et chroniques, ancêtres de la bande dessinée, sont publiés dans des journaux, tels Le Charivari canadien et Le Canard (1877-1957). (Falardeau, Histoire de la bande dessinée au Québec, p. 19) On remarque aussi d'autres similarités dans le développement et la transformation de l'histoire en images en véritable bande dessinée au début du XXe siècle avec l'adoption de la bulle, l'introduction des onomatopées et des lignes de mouvement (Falardeau, Histoire de la bande dessinée au Québec, p. 34). b. Toutefois, de 1930 jusqu'aux années 1960, le marché américain des comics inonde le Canada et casse les prix car les comics sont publiés à l'intérieur des journaux locaux et nationaux. Ne pouvant résister, au Québec, comme dans les autres provinces, "on à affaire à un quasi-monopole américain, maintenu par les éditeurs, qui n'offrent aux dessinateurs québécois que le cachet dérisoire qu'ils versent aux syndicates américains." (Falardeau, Histoire de la bande dessinée au Québec, p. 65). En outre, les "revues franco-belges qu'on trouve en kiosque ou qu'on peut se procurer par abonnement supplantent rapidement en qualité et en nombre les quelques revues québécoises, Claire, François et Hérauts, qui luttent pour garder leurs lecteurs." Falardeau, Histoire de la bande dessinée au Québec, p. 65). S'ajoute à ce phénomème la popularité écrasante de Spirou, qui naît en 1938 et la série des Tintin qui commence à être publiée juste après la seconde guerre mondiale. C'est dans ce contexte que Pierre Dupras, dessinateur de bd québécois, a dénoncé une forme de "colonialisme culturel" (La Barre du jour, 1975, cité dans Falardeau, Histoire de la bande dessinée au Québec, p. 82) insoutenable. C'est seulement avec la Révolution Tranquille des années 1960 et le mouvement de contre-culture qu'elle amène avec elle qu'une vague underground québécoise et parfois féministe commence à voir le jour. Le 1er Festival International de la Bande Dessinée a finalement lieu en 1975 à Montréal, présentant enfin et de manière internationale la richesse de la production canadienne et québécoise (communément appelée BDK dans les années 1070 et plus récemment BDQ--bande dessinée québécoise). 2. En République Démocratique du Congo (RDC). a. L'omni-présence de Tintin et de la bédé belge au Congo. Pendant la période coloniale et selon Christophe Cassiau-Haurie, "plusieurs journaux éditent des petits strips de qualité médiocre mettant en scène des Africains. Mais ces illustrations relèvent plus du dessin de presse ou du strip à peine ébauché que de la BD." (Histoire de la BD congolaise, Paris, L'Harmattan, 2010, p. 15) La bande dessinée est ainsi un outil colonial et paternaliste, tel Les 100 aventures de Mbumbulu, qui sort en albums à partir de 1956 et qui représente la première bande dessinée congolaise, quoique créée par un religieux belge, le frère Marc. (Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 19) Il est indéniable que la série des Tintin a un impact considérable sur le développement du neuvième art au Congo, avec, par exemple, l'adoption de la "ligne claire". La publication de Tintin au Congo en couleur en 1946 y a même reçu un accueil très chaleureux malgré la présence évidente d'un dessin et d'un script racistes. b. Émergence d’auteurs tel Mongo Sisé (1948-2008) dans les années 1970 et 1980 malgré la censure au Zaïre. C'est donc après l'indépendance, dans les années 1970 que des auteurs de bédés zaïrois commencent à publier leurs séries, tel Mongo Sisé avec les séries Mata Mata et Pili Pili, deux Congolais. Il n'en est pas moins que Mongo Sisé "part s'installer à Bruxelles où il intègre le studio" (Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 43) d'Hergé. Il y crée la série Bingo, sorte de Tintin africain, au début des années 1980. "Le premier ouvrage, Bingo en ville, traite de l'exode rural et des dangers de la ville pour son héros, un jeune paysan qui quitte son village attiré par le 'miroir aux alouettes' que représente la grande ville. Entre chômage, retard des paiements de salaires, bagarres et escroqueries, le jeune Bingo découvre un monde sans pitié qui finit par l'écoeurer et l'encourage à rentrer dans son village." (Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 43) Enfin, il crée le journal Bédé Afrique. Les crises économiques et politiques, la censure et les problèmes d'infrastructure mettent un frein à l'expansion de la bd dans le pays. Il est difficile de prospérer lorsqu'il y a des problèmes de transport et de distribution des journaux et magazines, en plus des facteurs politques. (https://www.lambiek.net/artists/s/sise_mongo.htm) 3. Outre-mer: à La Réunion. Comme les autres territoires francophones mentionnés dans cette section, le départment d'Outre-mer français de La Réunion publie, au XIXe siècle, des dessins humoristiques, sans phylactère mais avec un texte imprimé sous chaque vignette (Christophe Cassiau-Haurie, Histoire de la bande dessinée à La Réunion, 26 déc. 2008, http://bdzoom.com/5651/patrimoine/histoire-de-la-bande-dessinee-a-la-reunion/). C'est aussi à la même époque que pour certains autres territoires francophones que la véritable forme moderne de la bande dessinée se développe avec des dessinateurs réunionnais tel Marc Blanchet. Ses planches paraissent "dans les journaux locaux de l'île" (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion). Cassiau-Haurie déclare d'ailleurs que "l'émergence d'un véritable mouvement y a commencé en 1986 avec le magazine Le cri du Margouillat. Créé par Boby Antoir, un enseignant fan de BD" (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion) et Michel Faure, dessinateur, et accompagnés d'une équipe d'étudiants, le magazine se veut satirique et irrévérencieux (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion). La revue, publié à Saint-Denis, existe toujours, preuve de son grand succès. Dans un entretien, Appolo, rédacteur en chef du Cri du Margouillat répond ainsi à deux questions cruciales sur le magazine: Je pense qu’au début il s’agissait juste de créer un support pour que des jeunes puissent publier les BDs qu’ils griffonnaient dans leur coin. Mais en fait, c’est rapidement devenu autre chose : c’est vraiment une bande qui s’est formée et qui, d’une certaine manière, a grandi ensemble. On faisait de la BD, on discutait de cinéma, de rock, de livres, de politique, et le journal est devenu l’un des lieux de la modernité créole et urbaine qui naissait dans les années 80 et 90. Est-ce que cette histoire réunionnaise pourrait avoir lieu dans d’autres territoires ultramarins et comment le favorisé [sic]? Je ne connais pas bien les contextes culturels des autres territoires, mais c’est vrai qu’il y a eu à la Réunion un truc autour de la BD qui n’a pas eu lieu ailleurs. Il y a plusieurs explications : d’une part la Réunion est le territoire le plus peuplé de l’Outremer, ce qui est un avantage en termes de création culturelle puisque cela signifie un lectorat plus important, ensuite il y a une ancienne tradition du dessin voire de la BD à la Réunion (ce n’est pas vraiment étudié, mais nous l’avons découvert au fur et à mesure) et puis, tout simplement, je pense qu’il s’agissait d’un concours de circonstances, de rencontres qui se sont faites. Ce qui me semble déterminant pour la création, c’est de ne pas être seul : il faut un groupe, une émulation. Est-ce que la BD pourrait faire évoluer les clichés qui pèsent sur l’univers Outremer ? Pour le Margouillat, il ne s’agissait pas tant de s’adresser à un public extérieur qu’à un public intérieur. Nos BDs étaient souvent en créole, ou traitaient (maltraitaient en fait) des sujets locaux. On ne s’est intéressés à la question de la représentation de l’île à l’extérieur que bien plus tard, quand plusieurs d’entre nous ont décidé de publier des albums au niveau national. On s’est pointés chez les éditeurs parisiens avec nos histoires réunionnaises, et ça a marché ! Alors oui, j’espère que mes BDs, par exemple, donnent un point de vue nouveau sur la Réunion aux lecteurs extérieurs. ("Le cri du Margouillat, la figure de proue de la BD réunionnaise", Boukan-Le Courrier Ultramarin, https://www.une-saison-en-guyane.com/article/culture/le-cri-du-margouillat-la-figure-de-proue-de-la-bd-reunionnaise/) Le margouillat est un lézard ou gecko des savanes africaines et présent sur l'île de La Réunion. CHAPITRE 8 : "Les Frustrés" (1975-1980) de Claire Bretécher et "Ciboire de Criss !" (1996) de Julie Doucet Ciboire de criss! de Julie Doucet Note générale: Chaque enseignant.e peut faire sa propre sélection des histoires courtes (longues d'une planche ou de 2-3 pages, pour la plupart) de cet album selon leur emploi du temps et la décision à prendre vis-à-vis des sujets et des traitements faites de ces sujet par l'auteure. Vous trouverez ci-dessous une liste de certaines de ces histoires avec leur sujet pour faciliter ce choix: * Introduction (pp. 1-9) * Thème-La condition féminine: "Alors, pourquoi j'ai eu ce rêve stupide?" (pp. 29-33); "Mon jour de lavage" (pp. 72-73); "Là là, chu tanney là !!! ... ou le rêve récidiviste" (pp. 99-105); * Humour: "An English lesson" (pp. 32-33) * Clin d'oeil vis-à-vis de l'héritage bd du XXe siècle: "Introduction" (Astérix) pp. 1-9; "Dirty Plotte vs. Super Clean Plotte" pp. 51-54 * Thème-Être homme: "Regret" (pp. 41-45); "Si j'étais un homme" (p. 62); "Le cran d'arrêt" (pp. 79-90) * Thème-Inhibitions sociales: "Tout est bien qui finit bien" (pp. 55-57) Il est important de noter que cet album contient un langage ou une description ou encore un sujet qui pourrait offenser certains étudiant.e.s CHAPITRE 8 - Les Frustrés (1975-1980) de Claire Bretécher et Ciboire de Criss ! (1996) de Julie Doucet Les Frustrés (1975-1980) de Claire Bretécher Étude de quelques planches (le-livre.com) 1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Claire Bretécher, l'auteur des Frustrés. Concentrez-vous sur les moments importants. Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8). 2. Lecture et analyse de la page intitulée "Santé & beauté plastique de la femme". Regardez cette planche de l'album Les Frustrés et répondez aux questions suivantes: (clairebretecher.com) \| NOTE DE VOCABULAIRE \| \| "PLASTIQUE" dans le titrede cette planche ne fait pas allusion à un sac en plastique mais à l'art plastique = fine arts \| a. Selon vous, pourquoi est-ce que cette planche n'a pas de bulle et pourquoi le personnage ne parle-t-il pas? Donnez des précisions. Est-ce que le dessin est complexe ou minimaliste? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. Qu'est-ce qui est comique dans cette planche? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 3. Analysez la structure de cette planche. Quel est le rythme du dessin? Y a-t-il des parties distinctives dans cette histoire? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 4. Analysez le titre de cette planche. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Normalement, quand on parle de "beauté plastique de la femme", on pense à la peinture et à la sculpture classiques, comme la peinture de Velazquez ou la sculpture de Rodin : (Velázquez) (Rodin) ... alors, pourquoi est-ce que Bretécher a choisi ce titre? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. \| RAPPEL - LES GENRES ET LES TERMINAISONS \| LES NOMS EN -TÉ (COMME BEAUTÉ) SONT FÉMININS LES NOMS EN -URE (COMME PEINTURE) SONT AUSSI FÉMININS -0-O-0- Pourriez-vous trouver 3 autres exemples de noms féminins qui ont d'autres terminaisons? ex: -iee (féminin): la biologie, une bougie, une énergie 1. ...................................................................................... 2. ...................................................................................... 3. ...................................................................................... \| 2. Lecture et analyse de la page intitulée "Divorce". Regardez et lisez cette planche de l'album Les Frustrés et répondez aux questions suivantes: (clairebretecher.com/blog) a. Suivez cette femme case par case et répondez aux questions suivantes : Case 1 : D’où est-ce qu’elle part ici ? Case 2 : Où est-elle ici ? Traduisez ce qu’elle pense en anglais : Case 3 : Comment sont les « bulles » de Bretécher ? Où est la femme maintenant ? Quelle est sa résolution ? Case 4 : Où est-elle maintenant ? Quelle est la signification de « en avoir marre (de) » en anglais: Quelle est la signification de « faire la bonne » : Case 5 : [Note : « chuis » est la transcription orale de « je suis »] [Note 2 : Je vais bien/mal = I am doing well/not well Je suis bien/mal = I am good-looking/not so good-looking] Donc, elle peut trouver …………………….. (qui? J !) Cases 5 et 6 : Où est-elle maintenant ? Case 7 : [Note : « en avoir ma claque » = to have had it/to be fed up with] Case 8: Note: “fous jamais rien” [= f.....g do nothing] Traduction de “vautré” en anglais: ............................ Case 9 : Cette phrase est une métaphore. Quelle est la signification de cette phrase ? Comment la traduiriez-vous en anglais ? ...................................................................... Case 10 : Est-ce que son mari est vautré devant la télé ? OUI NON Est-ce qu’elle crie sur lui et demande le divorce ? Qu’est-ce qu’elle fait ? Case 11 : [Note: “avoir la flemme” = to feel lazy] b. Selon vous, est-ce que Bretécher est féministe ou est-ce qu'elle accuse les femmes dans cette planche? Expliquez. Répondez en un ou deux paragraphes: ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. \| RÉVISION GRAMMATICALE \| LES PRONOMS Identifiez la signification, la position et l'utilisation des pronoms dans la planche intitulée "Divorce": "il va m'entendre" (2e case) et "je lui dis demain" (dernière case) (consultez la présentation Powerpoint ci-jointe) \| 3. Lecture et analyse de la page intitulée "Catéchisme". Regardez et lisez cette planche de l'album Les Frustrés et répondez aux questions suivantes: (bubblebd.com) a. Comment s'appelle la jeune femme en robe noire ? ................................................................................................................................................................................. ................................................................................................................................................................................. b. Avec qui est-ce que cette jeune femme en robe noire est en couple ? ................................................................................................................................................................................. ................................................................................................................................................................................. c. Pourquoi est-ce qu'il n'y a pas de dialogue dans la dernière case et pourquoi est-ce que la femme avec une jupe blanche fume? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. d. Où est le comique dans cette planche? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. Le dessin de Bretécher est simple mais aussi subtilement complexe. Expliquez. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. f. Est-ce que les bédés de Bretécher sont difficiles à comprendre? Pourquoi ou pourquoi pas? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Ciboire de Criss ! (1996) de Julie Doucet (goodreads.com) 1. Ciboire de criss! : approche provocatrice ou fanzine féministe de mauvais goût? (lassociation.fr) A. La provocation langagière. Le titre de cette bédé annonce le ton! Cherchez dans un dictionnaire et donnez la traduction du titre qui est un juron québécois: Ciboire de criss! : ........................................................... ! et continuez avec l'autre juron québécois présent dans l'album: une plotte (p. 1) : ..................................................... B. Dès la première planche. Étudiez la première page de l'album de Doucet et identifiez les aspects novateurs et provocateurs que vous pouvez trouver du point de vue narratif et scriptural: 1. La première planche de bd (voir image ci-dessus) présente le sujet de l'album et/ou son contexte. Quelle est l'histoire donc de Ciboire de criss ! et en quoi est-ce une histoire et une présentation provocatrices? aspect no. 1: ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. aspect no. 2: ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 2. Qui est le personnage principal? Où se trouve ce personnage-- dans quelles cases se trouve le personnage principal dans cette première planche, datée de 1990? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 3. Quels vêtements le personnage principal porte-t-il dans cette première page? Analysez. À quoi correspondent toutes ces descriptions? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 4. Comment savez-vous qu'il s'agit d'une sorte d'autobiographie dans cet album ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. C. Figures masculines. Concentrez-vous sur 3 personnages masculins présents dans les histoires de Ciboire de criss ! Qui sont-ils? Que représentent-ils selon vous? Figure masculine no. 1 : ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Figure masculine no. 2 : ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Figure masculine no. 3 : ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 2. Question de synthèse finale. Répondez à la question suivante en petits groupes: Finalement, que pensez-vous de cette fanzine? Est-ce une présentation qui casse les tabous qui restent encore présents dans la bd du début des années 1990 ou est-ce un album de mauvais goût ? Expliquez CHAPITRE 9 : "Le chat du rabbin: La Bar-Mitsva" (2002) de Joann Sfar CHAPITRE 9 - Le chat du rabbin: La Bar-Mitsva (2002) de Joann Sfar (couleur: Brigitte Findakly) (dargaud.com) 1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Joann Sfar, l'auteur du Chat du rabbin. Concentrez-vous sur les publications et les moments importants. Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8). 2. Premières questions : compréhension et analyse. Répondez à ces questions oralement ou par écrit après avoir lu les pages 3 à 12 du Chat du rabbin: La Bar-Mitzva. 1. Qui est le narrateur et qui est le personnage principal? Expliquez votre réponse. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 2. Où sommes-nous dans cette bédé? Quel est le temps principal utilisé (le passé, le présent, le futur)? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 3. Que se passe-t-il de la page 8 à la page 12 ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 4. Est-ce que cette bédé est difficile à comprendre ? Expliquez. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Visuellement, quelle est la structure de chaque page ou planche ? Vous pouvez feuilleter le reste de l'album pour vérifier. Analysez cet aspect visuel. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. CONTINUEZ ET FINISSEZ DE LIRE LE LIVRE ... \| VOCABULAIRE FAMILIER \| -coller des baffes (p. 4) = gifler -se tailler (p. 10) = s'enfuir -ficher (p. 20) = mettre -choper (p. 34) = attraper -se fourrer le doigt dans l'oeil jusqu'au coude (p. 42) = avoir tort; se faire de grosses illusions -baiser (p. 43) = faire l'amour -se branler (p. 43) = se masturber -une pute (p. 44) = une putain = une prostituée \| 3. Approfondissement historique et géographique. Nous ne sommes sûrs de l'endroit où se passe le tome 1 de la série Le chat du rabbin de Joann Sfar que vers la fin de l'album, à la case 4 de la page 44 où nous lisons "ils vont à la synagogue, ou au marché Randon". Ce marché et cette synagogue existaient bien jusque dans les années 1960, quand la synagogue a été profanée et transformée en mosquée. Ils se situent dans la ville d'Alger, en Algérie. Vous trouverez une carte postale de cet endroit dans les années 1920, époque approximative où se passe l'histoire de Sfar. (web.nli.org.li) Pour en savoir plus sur la colonisation de l'Algérie par la France et le statut des Juifs et des Musulmans en Algérie au début du XXe siècle, veuillez lire le texte ci-joint, intitulé "Juifs et Musulmans pendant la colonisation française" et faire une récapitulation chronologique des événements principaux impliquant Juifs et Musulmans en Algérie à l'époque de la colonisation française. La ligne chronologique est démarrée pour vous aider: 1830 1834 -----I-----------------------I------------------------I---------------------------I------------------------I-----------------------I---------- conquête violente de l'Algérie par la France \| PAUSE GRAMMATICALE \| Identifiez le temps des verbes soulignés et donner la forme infinitive de chaque verbe: "La seule chose qui pourrait restreindre ma liberté absolue, ce serait qu'on me colle des baffes." (p. 4) "Les richesses du monde devraient être mieux réparties" (p. 7) "Quand bien même il mentirait, papa, est-ce si grave?" (p. 10) "Je lui dis que j'ai acquis un pouvoir dont je me passerais bien" (p. 22) \| Révision du conditionnel (conjugaisons régulière et irrégulière, significations et utilisations) \| 4. La Bar-Mitsva. Discutez en groupe et expliquez la signification profonde d'une bar-mitsva. Expliquez aussi pourquoi le chat du rabbin insiste sur le fait qu'il veut faire sa bar-mitsva. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Composition au choix. A. Choisissez deux ou trois des phrases à portée religieuse et/ou philosophique du chat du rabbin et expliquez toutes leurs significations possibles. Voici, par exemple, certaines des phrases du chat (ous n'êtes pas obligé.e.s de choisir celles-ci): "Depuis que je le sais duplice et hypocrite, depuis que je le vois se débattre entre ses hormones et ses convictions, je l'aime" (p. 48) "Je lui dis que Dieu est un simulacre rassurant" (p. 20) "Je lui dis qu'il a été avec moi aussi dogmatique et obtus que certains chrétiens le sont avec les juifs." )p. 15) B. Expliquez la citation de Sfar" On entre en dessin comme on briserait une glace. On y découvre que l'autre n'existe pas, que les êtres et les choses ne sont pas délimités." (Le Monde des livres, 23 déc. 2005) et explorez ce défi pour ce qui est de la bande dessinée en général et du Chat du rabbin en particulier. CHAPITRE 10 : "Poulet aux prunes" (2004) de Marjane Satrapi Exercice d'identification des temps. Profitez de cet exercice pour revoir le(s) temps que plusieurs étudiants ont eu du mal à identifier ou dont ils ont eu des difficultés à expliquer la construction. Il est conseillé alors de se référer à une grammaire de référence pour toutes révisions. Ex.6. Bédé ou roman graphique? Cet exercice essaie de montrer aux étudiants la problématique de la différentiation forcée entre les genres littéraires et le désir de légitimisation qui s'y exprime. Avec cet exercice, les étudiants devraient probablement arriver d'eux-mêmes à cette conclusion, soit qu'il y a très peu de différence (présence d'une voix autobiographique; autofiction; exofiction) voire aucune différence entre la bande dessinée et le roman graphique. CHAPITRE 10 - Poulet aux prunes (2004) de Marjane Satrapi (lassociation.fr) 1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Marjane Satrapi, l'auteure de Poulet aux prunes. Concentrez-vous sur les publications et les moments importants. Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8). 2. Travail de recherche et de présentation. Faites des recherches sur le contexte historique de Poulet aux prunes. À la première page, l'auteure indique "Téhéran 1958". Expliquez et concentrez-vous sur les moments importants de l'histoire iranienne de la première guerre mondiale jusqu'à 1958. N'oubliez pas d'expliquer la note qui se trouve au bas de la page 5 et la discussion de Nasser Ali et Manoutchehr page 6. Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8). Lecture de l'introduction 3. Les seize premières pages de Poulet aux prunes forment une sorte d'introduction-récapitulation. Répondez aux questions suivantes avec le plus de détails possible pour mieux situer cette bande dessinée: 1. Qui est Nasser Ali Khan ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 2. Comment s'appelle la femme dans la première planche, selon Nasser Ali ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 3. Qu'est-ce qu'un tar ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 4. Pourquoi Ali Khan est-il très mécontent à la 4e page ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Combien d'enfants est-ce qu'Ali Khan et comment s'appellent-ils ? Comment s'appelle le fils avec lequel il va à Mashad en car ? Et comment est-ce qu'Ali Khan s'occupe de son fils ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 6. Qui a brisé le tar et pourquoi ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 7. Quelle est la décision finale d'Ali Khan et que se passe-t-il le 22 novembre 1958 ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. IDENTIFICATION DES TEMPS - ENTRAÎNEMENT \| Voici des expressions présentes dans l'introducrtion de Poulet aux prunes. Identifiez leur temps et/ou donnez leur traduction en anglais:1. Vous ne vous appelleriez pas Irâne?2. J'ai dû vous confondre3. Laissez-le reposer dans un endroit bien sec4. Sa tonalité sera parfaite5. Ne vous énervez pas!6. On avait rendez-vous à 10h7. Mossadegh nationalisa le pétrole iranien8. Tout dégénère ...9. Tous ceux qui l'avaient connu étaient présents \| Lecture du reste de Poulet aux prunes 4. La structure et l'analyse de Poulet aux prunes. Il est quelquefois intéressant d'analyser la structure et la forme d'un roman, d'une pièce de théâtre ou d'une bédé, quelquefois aussi appelée "roman graphique". Répondez aux questions suivantes en groupe: a. Comptez le nombre de pages pour chaque partie de Poulet aux prunes : Introduction : 16 pages 1er jour - 15 novembre 1958 : 2e jour - 15 novembre 1958 : 3e jour - 15 novembre 1958 : 4e jour - 15 novembre 1958 : 5e jour - 15 novembre 1958 : 6e jour - 15 novembre 1958 : 7e jour - 15 novembre 1958 : 8e jour - 15 novembre 1958 : b. À quoi correspond chacun des huit jours ? 1er jour - 15 novembre 1958 : 2e jour - 15 novembre 1958 : 3e jour - 15 novembre 1958 : 4e jour - 15 novembre 1958 : 5e jour - 15 novembre 1958 : 6e jour - 15 novembre 1958 : 7e jour - 15 novembre 1958 : 8e jour - 15 novembre 1958 : c. Que pensez-vous de la structure globale de ce roman graphique ? Y voyez-vous une signification ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. d. Que pensez-vous de sa structure en flashback ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. Y a-t-il une morale dans cette histoire ? S'agit-il d'un conte et/ou d'un drame ? S'agit-il d'une histoire métaphorique? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. f. Ce roman graphique est dessiné en noir et blanc. Selon vous, quelle est l'impact du choix du noir et blanc sur les lecteurs et notre interprétation de l'histoire ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Livre comique ou tragique ? Poulet aux prunes joue avec les stéréotypes, le grotesque et l'ironie humoristique. Que pensez-vous d'un passage, comme celui qui se trouve vers la fin du quatrième jour, où on voit la famille de Mozaffar aux États-Unis? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 6. Bédé ou roman graphique? Le terme de "roman graphique" est apparu dans les années 1960 mais a commencé à être vraiment connu et utilisé vers la fin du XXe siècle. Pourriez-vous faire des recherches et trouver 3 aspects qui différencient la bande dessinée du roman graphique? \| bande dessinée \| roman graphique \| - - - \| - - - \| Puis, discutez en groupe des différences que vous avez trouvées en prenant un exemple de bédé étudiée ce semestre (Astérix légionnaire ou L'Ile noire) et le roman graphique de Satrapi. Pouvez-vous trouver des différences? Si oui, lesquelles? \| bande dessinée (Astérix ou Tintin) \| roman graphique (Poulet aux prunes) \| - - - \| - - - \| 7. Composition . Sujet: Qu'est-ce qu'un poulet aux prunes et pourquoi pensez-vous que Marjane Satrapi a donné ce titre à ce roman graphique? CHAPITRE 11: "Aya de Yopougon" (2005) de Marguerite Abouet et Clément Oubrerie CHAPITRE 11: "Aya de Yopougon" (2005) de Marguerite Abouet et Clément Oubrerie (gallimard.fr) Commencez à lire les pages 1-33 1. Vocabulaire. Notez les mots nouveaux que vous allez lire en vous aidant du lexique trouvé en fin de livre (p. 98). Deux exemples vous sont déjà donnés : \| lexique africain \| synonyme \| -un géniteur (p. 2) -une gazeuse/gazer (p. 2) - - - - - - \| -un père -une fêtarde/sortir en boîte - - - - - - \| 2. Qui est Marguerite Abouet ? Faites des recherches sur l'internet sur Marguerite Abouet et regardez cet entretien d'Abrouet, qui date de 2010 (8 mn 30): https://aalbc.com/authors/author.php?author_name=Marguerite+Abouet Puis répondez aux questions suivantes: a. Marguerite Abouet est-elle dessinatrice ou scénariste ? ................................................................................................................................................................................. ................................................................................................................................................................................. b. Qu'est-ce qui a frustré Abouet lorsqu'elle est allée à au festival de la bd à Abidjan ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. c. Comment a-t-elle décidé de résoudre ce problème ? Répondez en détails : ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. Quelle était la situation de Marguerite quand elle était jeune ? Comment est-elle venue en France ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. f. Quelle critique a-t-elle envers les Ivoiriens, elle qui est ivoirienne d'origine ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Continuez et lisez les pages 34-96 3. La satire et le grotesque. En groupe, discutez et trouvez 5 éléments qui renforcent l'aspect satirique de cette bande dessinée. N'oubliez pas d'inclure le dessin mais aussi le choix des mots, les cartouches, etc... : a. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. c. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. d. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. ................................................................................................................................................................................. 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RÉVISION GRAMMATICALE - la voix passive \| Expliquez la formation grammaticale des 2 expressions suivantes et de la voix passive en général : 1. On est invités chez mon patron (p. 22) 2. Je serai payé le double (p. 50) \| Finissez de lire la bd 4. Le cadre historique d'Aya de Yopougon. Aya de Yopougon 1 se passe en 1978, comme l'indique la première page. Elle se passe à Abidjan, en Côte d'Ivoire à une période souvent considérée comme celle du "miracle ivoirien". Pourriez-vous faire des recherches et expliquer ce terme et cette période historique en Côte d'Ivoire ? a. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. Selon vous, pourquoi l'autrice a décidé de ne pas placer cet histoire au début des années 2000 ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 5. Vision auto-ethnographique. Pourriez-vous analyser la vision auto-ethnographique de cette bédé où certains personnages sont à dimensions multiples (alors que d'autres sont assez stéréotypés) et où sont présentes la nouvelle génération et l'ancienne génération ainsi qu'une certaine image de la trans-culturation dans les vêtements, les professions, les boissons etc... ? En un mot, quelle est l'image qui ressort de la Côte d'Ivoire et des habitants d'Abidjan à la fin des années 1970 ? Est-elle complexe ou non ? Expliquez. CHAPITRE 12: "Moi René Tardi, prisonnier de guerre au Stalag IIB" (tome 1; 2012) de Tardi Les questions et sujets abordés dans ce dernier chapitre sont à un niveau supérieur de ceux présentés dans les premiers chapitres. Le choix même de cette bande dessinée indique un niveau de lecture et de connaissance du français soutenu de la part des étudiants. Les questions et activités sont donc un peu moins ludiques et plus complexes. CHAPITRE 11 - Moi René Tardi, prisonnier de guerre au Stalag IIB (tome 1; 2012) de Tardi (tcj.com) 1. La bd historique en France. Lisez le texte intitulé "La BD historique française" (voir ci-joint) et répondez aux questions suivantes: a. La bd historique française naît combien d'années après la naissance de la bd? ................................................................................................................................................................................. ................................................................................................................................................................................. b. L'introduction de cette présentation suggère qu'Alix de Jacques Martin est l'une des premières bandes dessinées historiques françaises. Le premier album de la série Alix a été publié en 1948. Quels sont les grands noms de la bd francophone à la même époque? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. c. Le genre de la bd historique francophone a vraiment connu un essor à la fin du XXe siècle. Mentionnez quatre faits qui prouvent cette montée très nette en popularité: i. ii. iii. iv. d. Quels sont les avantages et les défis de la bd historique? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. Quels sont les cinq sous-genres de la bd historique et quelles sont leurs spécificités? i. ii. iii. iv. v. 2. Tour d'horizon de la bd historique dans le monde francophone en dehors de l'Europe. Le récit historique jouit aussi d'une grande popularité à travers le monde francophone, ne serait-ce que pour partager et redécouvrir son histoire et ses héros avec des lecteurs jeunes et moins jeunes. Ainsi, Christophe Cassiau-Haurie (scénariste), Luko (dessinateur) et J-F Chanson (découpeur) ont publié Bissette élu député : 1849, quand des esclaves deviennent électeurs (Caraïbéditions, 2016). L'album s'ouvre sur la carte d'un bateau transportant des esclaves, à la fin du XVIIe siècle, d'Afrique aux colonies des Amériques pour travailler dans les champs de canne à sucre. Il raconte le combat d'un homme de couleur, Cyrille Bissette, né en Martinique dans une famille de couleur libre. (kazabulmartinique.com) Banni des colonies pour son combat pour l'abolition de l'esclavage, il travaille en metropole pour mener ce combat à bien. Il revient finalement en Martinique où il a joué un rôle important dans l'abolition de l'esclavage, malgré sa rivalité avec Victor Schoelcher. De même, les éditions L'Harmattan ont publié, en 2013, un recueil de bd d'auteurs du Tchad, du Maroc, du Cameroun, du Togo/Bénin, du Mali et de Tanzanie, intitulé Sommets d'Afrique. (amazon.com) Massif de l'Atakora est une histoire, longue de sept planches seulement, qui se moque des disputes territoriales entre le Togo et le Bénin. Kilimandjaro, elle aussi, est une bédé courte qui ironise sur la manière dont la reine Victoria a offert le Kilimandjaro en cadeau d'anniversaire à Wilhelm, son petit-fils, en déplaçant les frontières coloniales. Les îles du vent 1 d'Elodie Koeger et Hector Poullet (Caraïbéditions, 2009) raconte, dans un petit format de poche et en noir et blanc, la situation difficile des Haïtins sans papier à la Guadeloupe au début du XXIe siècle. Cette bédé tente aussi de montrer la complexité des relations entre blancs d'origine française et Antillais. (amazon.com) Cette présentation n'entend que donner quelques exemples de bandes dessinées francophones actuelles. Il en existe bien d'autres ... n'hésitez pas à faire des recherches! Moi René Tardi "Nos pères, ces héros sans gloire ..." (p. 5) 3. Introduction et questions de compréhension. Répondez aux questions suivantes tout en commençant à lire le livre (pp. 5-25) : a. Lisez l'introduction et identifiez les motivations de Tardi, le dessinateur, quand il écrit et dessine cette bd. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. Tardi remercie sa fille, Rachel Tardi, "pour sa mise en couleurs" (p. 12), dans l'introduction. Feuilletez ce livre et parlez des couleurs utilisées part sa fille. Analysez le choix de ses couleurs. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. c. Où se trouvait le Stalag IIB ? Consultez la carte aux pages 16-17. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. d. Qui est le personnage à la première page (p. 19) ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. e. Qui parle dans les bulles rectangulaires ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. f. Le ton, dès la première page de cette bande dessinée, est ironique. Pourriez-vous trouver quatre exemples de cette ironie ? Pour chaque exemple, identifiez l'objet de l'ironie. i. ............................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ii. ............................................................................................................................................ ................................................................................................................................................................................. ................................................................................................................................................................................. ii. ............................................................................................................................................ ................................................................................................................................................................................. ................................................................................................................................................................................. iii. ............................................................................................................................................ ................................................................................................................................................................................. ................................................................................................................................................................................. iv. ............................................................................................................................................ ................................................................................................................................................................................. ................................................................................................................................................................................. g. La dernière case de la page 23 présente le grand-père du dessinateur, père du héros qui est le sujet de Tardi dans ce livre. Comment est-ce que le père du dessinateur décrit son propre père ? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. h. Pourquoi le narrateur s'écrie-t-il, dans la dernière case de la page 25: "J' te comprends pas!" ? Qu'est-ce qu'il exprime de profond ici? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. 4. Pourriez-vous compléter les 2 cases ci-dessous avec une dizaine de mots dans chaque? \| VOCABULAIRE \| VOCABULAIRE/EXPRESSIONS POPULAIRES OU GROSSIÈRES \| ex : l'avoine (p. 19) = oats - - - - - - - - \| ex : fermer son clapet (p. 19) = se taire - - - - - - - - \| Continuons notre lecture (pp. 26-51) 4. Questions de compréhension. Répondez aux deux questions suivantes, en petit groupe, tout en continuant la lecture du livre (pp. 26-51) : a. Moi René Tardi est une bande dessinée remplie de détails sur la seconde guerre mondiale. Donnez plusieurs exemples de détails et exactitudes historiques présentés par l'auteur: ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. Maintenant que vous avez lu une cinquantaine de pages, pourriez-vous analyser la mise en image ou la structure de la planche chez Tardi? Selon vous, pourquoi est-ce que Tardi a adopté cette structure? Y a-t-il un impact sur les lecteurs et lectrices? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Pendant que vous continuez à lire ... (pp. 52-77) RÉVISION DU PASSÉ SIMPLE (Moi René Tardi, p. 77, dernière case) \| "Les officiers furent séparés de la troupe et embarquèrent pour les Oflags. Nous n'en revîmes plus ...".1. Notez les verbes au passé simple et donnez leur signification. 2. Expliquez la formation de chaque verbe. Verbe régulier ou irrégulier au passé simple? Quelles sont les formes régulières au passé simple? 3. Qu'est-ce qui distingue le verbe "furent séparés" du verbe "embarquèrent" du point de vue grammatical? \| Et ensuite ... (pp. 78-111) 5. Questions de compréhension. Répondez aux deux questions suivantes, en petit groupe, tout en continuant la lecture du livre (pp. 78-111) : a. Le narrateur de Moi René Tardi est une figure complexe, dessiné en garçon d'une dizaine d'années. Pour lui, est-ce que son père est un héros ou un anti-héros? ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. b. À la page 30 et aussi aux pages 49 et 111, le narrateur s'écrie: "PAPA!" Pourquoi? Expliquez en détails: ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. ................................................................................................................................................................................. Et pour finir ... (pp. 112-188) 6. Composition finale. Répondez à l'une des questions suivantes : a. Quelle est la signification de "Moi", premier mot du titre de la bande dessinée ? ou b. Moi René Tardi prisonnier de guerre au Stalag IIB : est-ce un roman graphique historique ou un roman familial et mémoriel? Conclusion et ouverture L'importance et la diversité de la bande dessinée francophone n'est plus à prouver. En France seulement, il y a plus de 5 000 nouvelles parutions de bédés par an aujourd'hui. L'espace francophone européen compte plus de 380 éditeurs de bandes dessinées. En France, la bande dessinée est le deuxième segment du livre le plus vendu après la littérature générale; cela revient à 1/4 des livres vendus dans l'hexagone, soit 85 millions d'exemplaires vendus par an1 et 900 millions d'euros de chiffre d'affaires par an, en France.2 Par comparaison, l'industrie américaine et canadienne de la bande dessinée est à presqu' un milliard et demi d'euros de chiffre d'affaires par an.3 En outre, près de 30% des titres de bd francophones européennes sont vendus à l'exportation, en traduction.1 Il est donc impossible, dans ces conditions, d'être exhaustif. Le domaine de la bande dessinée se porte bien en francophonie au-delà de l'Europe, même s'il est certain que des problèmes économiques, structurels et politiques ralentissent l'accès à la publication. Pourtant, une grande partie de la jeunesse africaine a grandi, de la fin des années 1960 à la fin des années 1990, en lisant, si elle pouvait se permettre de l'acheter ou encore de le louer des kiosquiers, le magazine Kouakou, publié en République Centrafricaine et destiné aux enfants de dix ans. Il s'agissait d'aventures qu'ont un jeune garçon africain et ses deux amis, aventures mêlées de science-fiction et de références à la tradition. Les lecteurs de Kouakou sont maintenant des adultes friands de bédé. Il existe des petites maisons d'édition, comme DBDO (Des Bulles Dans l'Océan) à Madagascar, qui essaient de publier des bandes dessinées et romans graphiques de tous genres, en tentant de s'échapper de l'étiquette "exotique" qu'on assigne vite à tout produit non-européen.4 À noter aussi qu'il existe, depuis 2016, un nouveau festival de bande dessinée Bilili à Brazzaville, au Congo, qui rassemble plusieurs milliers de visiteurs.5 En France et même s'il s'agit d'une production limitée, L'Harmattan publie, depuis 2010, un ou deux albums d'auteurs africains par an dans la collection L'Harmattan BD. Il est probable que l'ouverture du continent au digital pourra permettre une plus grande distribution et un accès plus facile à des maisons d'édition. La grande popularité de la BD européenne francophone, en particulier, se voit à tous niveaux; elle inclut toutes sortes de genres et d'âges, de la bédé pour très jeunes (5-8 ans), comme les séries Petit Poilu (avec très peu de mots pour les tout-petits) et Anatole Latuile, un écolier qui se trouve toujours dans des situations problématiques. La collection Les Enfants de la Résistance met en scène plusieurs enfants de treize ans, qui, pendant la seconde guerre mondiale, décident de créer uneorganisation secrète de résistance contre l'occupation allemande. Cette série belge s'adresse essentiellement à des enfants de 10-13 ans. Mais la bd contemporaine ne s'arrête pas là : on y trouve de nombreuses adaptations de romans qui sont d'ailleurs souvent utilisées dans les collèges. On y trouve aussi des contes écologiques, tel Unikarb ou Le Monde sans fin, miracle énergétique et dérive climatique, des séries fantastiques, et par-dessus tout, des mangas françaises (surnommées "manfras" ou "frangas"), même si elles sont d'inspiration japonaise, énormément populaires (avec adaptations sur Netflix), telle Radiant, qui fut la première manga française adaptée en anime au Japon en 2015. De plus, on compte de très nombreux biopics, des romans graphiques, historiques, fantastiques et de la bédé de science-fiction. N'oublions pas non plus que les éditions Dargaud publient une revue digitale depuis 2020, Mâtin, qui propose, tous les matins, une bande dessinée inédite de dix cases. La revue a commencé à publier des albums de bd en 2022. Le nombre de leurs abonnés dépasserait les 100 000. Finalement, on doit aussi tenir compte, dans l'horizon de la bande dessinée francophone européenne aujourd'hui, de la BD audio BLYND, une application qui est un partenariat entre éditeurs et acteurs francophones et propose des séries audio-immersives avec plus de 1000 abonnés. En un mot, le paysage médiatique de la bande dessinée francophone est des plus riches et n'a pas l'air de perdre souffle! En effet, ce marché correspond à une logique économique : l'engouement pour la bd, avec, par exemple, les mangas, correspond à une montée du pouvoir d'achat d'une génération maintenant adulte, qui avait pris goût au genre lorsqu'ils étaient enfants et adolescents. (animenewsnetwork.com) 1. Tous les chiffres présentés ici au sujet de la production de la bande dessinée francophone européenne proviennent de Marie-Laurence de Rocher, "AIF 2022 - Industries culturelles et créatives - Tendances littéraires BD", 4 juillet 2022, https://www.youtube.com/watch?v=SOA4_YCEOeg. 2. Nicolas Richaud, "Le marché de la BD bat tous ses records, à près de 900 millions d'euros en 2021", Les Echos, 27 janvier 2022, https://www.lesechos.fr/tech-medias/medias/le-marche-de-la-bd-bat-tous-ses-records-a-pres-de-900-millions-deuros-en-2021-1382570#:~:text=Intelligence%20artificielle-,Le%20march%C3%A9%20de%20la%20BD%20bat%20tous%20ses%20records%2C%20%C3%A0,millions%20d'euros%20en%202021. 3. "Comic Book Market Size, Share & Covid-19 Impact Analysis", Fortune Business Insights, Jan. 2022, https://www.fortunebusinessinsights.com/comic-book-market-103903. 4. Voir à ce sujet: Laure Verneau, "Madagascar, place forte de la bande dessinée en Afrique", Le Monde, 7 avril 2022, https://www.lemonde.fr/afrique/article/2022/04/06/madagascar-place-forte-de-la-bande-dessinee-en-afrique_6120911_3212.html. 5. Voir à ce sujet: Roxana Azimi, "L'Afrique, l'autre continent de la bande dessinée", Le Monde, 4 déc. 2020, https://www.lemonde.fr/afrique/article/2020/11/29/l-afrique-l-autre-continent-de-la-bande-dessinee_6061537_3212.html. Liste d'onomatopées en français Cette liste peut être aussi courte ou aussi longue que vous le désirez. N'hésitez pas à l'adapter au niveau et aux capacités de vos apprenants. La présentation Powerpoint ci-jointe est proposée comme exercice d'échauffement pour la classe. Commencez à vous exercer ! 1. Ouvrez le Powerpoint ci-joint et trouvez les onomatopées françaises correspondant aux images. Combien en connaissez-vous au total? 2. Pour en savoir plus et apprendre quelques onomatopées de plus en français, consultez les sites suivants : https://www.btb.termiumplus.gc.ca/tpv2guides/guides/clefsfp/index-fra.html?lang=fra&lettr=indx_catlog_o&page=96XtBxKUbdIg.html et http://www.les-onomatopees.fr/liste-onomatopees.php N'hésitez pas à chercher d'autres sources! Elles sont nombreuses. Bibliographie Bibliographie1 Abouet, Marguerite et Clément Oubrerie. Aya de Yopougon. T. 1. Paris: Gallimard, 2005. Azimi, Roxana. "L'Afrique, l'autre continent de la bande dessinée", Le Monde, 4 déc. 2020, https://www.lemonde.fr/afrique/article/2020/11/29/l-afrique-l-autre-continent-de-la-bande-dessinee_6061537_3212.html. B., David, Martin, Jacques et Giorgio Albertini. Alix: Le Dieu sans nom. T. 39. Paris: Casterman, 2020. Blanchard, Gérard. Histoire de la bande dessinée. Bruxelles: Marabout, 1969. Cassiau-Haurie, Christophe. Histoire de la BD congolaise. Paris: L'Harmattan, 2010. Caumery & Pinchon. Les aventures de Bécassine. Paris: Archives de la Bnf, https://data.bnf.fr/fr/14618815/caumery_joseph_porphyre_pinchon_becassine/ "Comic Book Market Size, Share & Covid-19 Impact Analysis", Fortune Business Insights, Jan. 2022, https://www.fortunebusinessinsights.com/comic-book-market-103903. Delorme, Isabelle. Quand la bande dessinée fait mémoire du XXe siècle. Dijon: Les Presses du réel, 2019. de Rocher, Marie-Laurence. "AIF 2022 - Industries culturelles et créatives - Tendances littéraires BD", 4 juillet 2022, https://www.youtube.com/watch?v=SOA4_YCEOeg. Doucet, Julie. Ciboire de criss! Paris: L'Association, 2004. Falardeau, Mira. Histoire de la bande dessinée au Québec. Montréal: vlb, 2008. Forsdick, Charles. "Exoticising the Domestique: Bécassine, Brittany & the beauty of the Dead in Francophone Bande dessinée", in The Francophone Bande Dessinée, eds. C. Forsdick & L. McQuillan. Amsterdam: Rodopi, 2005, pp. 23-37, https://doi.org/10.1163/9789401201964_004. Goscinny, René et Albert Uderzo. Astérix légionnaire. Paris: Dargaud, 1967. Hergé. L'Île noire. Paris: Casterman, 2000. --- Les Bijoux de la Castafiore. paris: Casterman, 1990. Kerrien, Fanny & Jean Auquier. L'invention de la bande dessinée: Dossier pédagogique. Bruxelles: Centre belge de la bande dessinée, 2013, https://www.cbbd.be/uploads/fichiers/pages/invention-de-la-bd-web.pdf. MacLeod, Catriona. "Sex & Death in Québec: female autobioBD & Julie Doucet's changements d'adresses", European Comic Art. Vol. 5, issue 1, 2012. Maigret, Eric & Matteo Stefanelli. La bande dessinée: une médiaculture. Paris: Armand Colin, 2012. McQuillan, Libbie. "Introduction", in The Francophone Bande Dessinée, ed. C. Forsdick & L. McQuillan. Amsterdam: Rodopi, 2005, pp. 7-14. Miller, Ann & Bart Beaty (eds). The French Comics Theory Reader. Louvain: PU de Louvain, 2014. Peeters, Benoît. Hergé, fils de Tintin. Paris: Flammarion, 2006. Peyo. Les Schtroumpfs noirs. Paris: Dupuis, 1963. Richaud, Nicolas. "Le marché de la BD bat tous ses records, à près de 900 millions d'euros en 2021", Les Echos, 27 janvier 2022, https://www.lesechos.fr/tech-medias/medias/le-marche-de-la-bd-bat-tous-ses-records-a-pres-de-900-millions-deuros-en-2021-1382570#:~:text=Intelligence%20artificielle-,Le%20march%C3%A9%20de%20la%20BD%20bat%20tous%20ses%20records%2C%20%C3%A0,millions%20d'euros%20en%202021. Satrapi, Marjane. Poulet aux prunes. Paris: L'Association, 2004. Sfar, Joann. Le chat du rabbin: la Bar Mitzva. T.1. Paris: Dargaud, 2002. Tardi. Moi René Tardi, prisonnier de guerre au Stalag IIB. T. 1. Paris: Casterman, 2012. Verneau, Laure. "Madagascar, place forte de la bande dessinée en Afrique", Le Monde, 7 avril 2022, https://www.lemonde.fr/afrique/article/2022/04/06/madagascar-place-forte-de-la-bande-dessinee-en-afrique_6120911_3212.html. 1. Veuillez noter que cette bibliographie n'est pas exhaustive	oercommons	2025-03-18T00:34:19.334431	08/04/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/96157/overview", "title": "QA4U -- Bandes dessinées francophones", "author": "Thomas Jones" }
https://oercommons.org/courseware/lesson/92557/overview	how to write a letter Overview writing a formal letter writing a formal letter Writing a formal letter	oercommons	2025-03-18T00:34:19.364732	05/08/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92557/overview", "title": "how to write a letter", "author": "Gamze KILIÇ" }
https://oercommons.org/courseware/lesson/111995/overview	Startup Ideas - How to share? Overview Students from NTTU Community are sharing their start up ideas from many aspects in life. We hope these can be a part of your solution to create your own business. Creations create solutions. NTTU Steps to share your startup ideal Title image: Image by Freepik 1. This competition is open to all students currently studying at NTTU. 2. All submitted entries will be uploaded to OER Commons to build a digital collection serving the purpose of business learning for the community. 3. All startup ideas will be shared publicly, authors will be acknowledged as copyright holders, and anyone who wishes to reuse the ideas must seek permission from the authors. 4. Refer to the appropriate open license for your choice. 5. The content of the competition consists of written articles and presentation diagrams, videos illustrating startup ideas. 6. Instructions on how to build documents on OER will be updated soon. 1. Cuộc thi này dành cho tất cả Sinh viên đang theo học tại NTTU. 2. Tất cả các bài dự thi sẽ được upload lên OER Commons để xây dựng bộ sưu tập số phục vụ mục đích học tập về kình doanh cho cộng đồng. 3. Tất cả các ý tưởng khởi nghiệp sẽ được chia sẽ công khai, tác giả sẽ được ghi nhận sở hữu bản quyền và người mốn tái sử dụng ý tưởng cần xin phép quyền từ tác giả. 4. Xem giấy phép mở phù hợp với lựa chọn của bạn. 5. Nội dung cuộc thi là các bài viết và trình bày minh họa bằng sơ đồ, video về ý tưởng khởi nghiệp. 6. Hướng dẫn về cách xây dựng tài liệu trên OER sẽ được cập nhất sớm. Chúc các bạn may mắn	oercommons	2025-03-18T00:34:19.378743	01/28/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/111995/overview", "title": "Startup Ideas - How to share?", "author": "Trần Mi Tho Na" }
https://oercommons.org/courseware/lesson/90803/overview	Environmental Pollution Overview An essay about environmental pollution Environmental Pollution Environmental pollution which is one of the biggest problems of our age, perhaps the most important, threatens life and continuity of natural life. Many factors cause environmental pollution. Factories are the most important of these factors because we live in an industrialized world. Factories cause a lot of pollution such as air, water, soil, and even noise. Therefore, governments and companies should work together to decrease environmental pollution. One of the major problems with factories is toxic gases released from them while another is industrial waste. First of all, toxic gases such as carbon dioxide and methane damage the atmosphere because when they are burned, they are released into the atmosphere, thus, causing air pollution, even worse, global warming. Another important problem is industrial waste. It causes water and soil pollution. Substances such as chemicals and waste can pollute rivers, lakes, and the soil, thus, posing a threat to the ecosystem. There are many solutions to decrease environmental pollution. One important solution is that governments can develop pollution prevention programs and inspect the factories consistently. Also, governments can support recycling and greening works. Another solution is that companies should take some precautions to not pollute the environment such as using clean fuel and filter systems. Moreover, they should prefer using recyclable raw materials. To sum up, there are several measures which could be taken to decrease environmental pollution. It is unlikely to prevent environmental pollution completely. However, with the right action by governments and companies, environmental pollution can be decreased to a minimum.	oercommons	2025-03-18T00:34:19.390627	03/10/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/90803/overview", "title": "Environmental Pollution", "author": "pinar h" }
https://oercommons.org/courseware/lesson/104395/overview	Photo voice study Overview This is a sample of a photo voice research study Introduction This is a sample of a photo voice research study	oercommons	2025-03-18T00:34:19.408108	Kent Rodriguez	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/104395/overview", "title": "Photo voice study", "author": "Student Guide" }
https://oercommons.org/courseware/lesson/75198/overview	Ethics and Compliance in the Workplace Overview intro here Ethics and Compliance in the workplace This content can be adapted to any school-age child from Kindergarten to twelfth grade. FOr younger childer, the instructor may want to adapt the material into a visual hands-on lesson verses the one line lesson this is storyboarding for. This storyboard is intended to be implemented with Articulate rise. However. It can also be used as a stand-alone PowerPoint presentation minus the storyboard notes	oercommons	2025-03-18T00:34:19.424969	Lesson	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/75198/overview", "title": "Ethics and Compliance in the Workplace", "author": "Assessment" }
https://oercommons.org/courseware/lesson/119585/overview	https://www.allexamnotes.com/2020/10/partnership/ https://www.allexamnotes.com/2020/10/rights-of-partner/ Touchstone of Partnership Overview Determining whether a group of individuals are in a partnership involves several key factors. A partnership must be based on a mutual agreement, either verbal or written, and partners must have access to the firm’s books of accounts. The group should consist of 2 to 20 members (or up to 10 in banking). Partners share profits, participate in business activities, and have the right to be involved in decision-making. The business must be legal, and partners have specific rights and duties, including managing the firm, accessing accounts, and sharing profits and losses proportionately. These elements collectively define the essence of a partnership. Meaning and Definition It is usually difficult to assess whether a group of persons are in partnership or not. Sometimes, people. claim that they are not working under partnership but the business conditions prove that they are partners. Similarly, some people claiming to be partners prove not to be, after deep analysis. To determine, whether a group of persons are partners or not, the mutual relation between them has to be studied. Agreement between Parties A partnership exists based on a contract, whether verbal or in writing. A partnership that does not arise by this rule cannot be called a Partnership. Access to Books of Accounts Only that group of persons has the right to be called partners, who have the right to access books of accounts of the firm, otherwise, he cannot be a partner. Number of Members When there are more than 20 members, (10 in the case of banking business), or less than 2 members, then such a group of members or a member cannot form a partnership. Sharing of Profits Under Sec. 4 of the Act, it is made clear that each partner of the firm has the right to receive a share of the profits of the firm. If the group of members makes provision for giving a share of profit to each member, it shall be called a Partnership. Carrying on Business It is also necessary for a partnership that two or more members carry on business on the basis of a mutual agreement. The objective of a partnership should be to carry on business; otherwise, it cannot be called a partnership. For example, if, two or more persons purchase a commodity or a property and divide it among themselves, they shall be called co-owners and not partners. Right to Participate in Decision Making Another feature of partnership is that each partner has the right to participate in the management and administration of the firm. Legality of Business If the business of the members is illegal, it cannot form a partnership because the objective of a partnership contract is to carry on a legal business. Rights of Partners The partners possess the following rights under the Partnership - To participate in the management of the firm. - Right to access Books of Accounts anytime. - To express his opinion on the affairs of business. - Right of indemnity of loss. - Right to receive a share of profit. - Joint ownership of the property of the firm with other partners. - Right, to receive a proportionate share of profit on termination of partnership. https://www.allexamnotes.com/2020/10/rights-of-partner/ The partners of a firm have the following duties and liabilities - - To perform the activities of the firm with dedication. - To compensate the firm for any loss caused knowingly. - To utilize the property of the firm for its business only and not for personal use. - To work under the scope of authority granted - To appoint a new partner only with the consent of all other partners. - To distribute profits and losses in the proportionate ratio. - Not to misuse the powers granted to them.	oercommons	2025-03-18T00:34:19.448749	09/11/2024	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/119585/overview", "title": "Touchstone of Partnership", "author": "Sadiq Rizvi" }
https://oercommons.org/courseware/lesson/100769/overview	صيانة الأجهزة المحمولة Overview computer الصفحة الرئيسية مرحبا بكم في موقع صيانة الأجهزة المحموله إعداد الطالبة/ دعاء محمد الورافي إشراف أ.د/ أنور الوحش يهدف الموقع إلى الجمع ما بين المعرفة العلمية والمهارات الفنية في مجال صيانة الأجهزة المحمولة وتعليم المستفيدين المهارات اللازمة لإصلاح الأجهزة المحمولة ومهارات تشخيص الأعطال الشائعة وكيفية إصلاحها الموضوعات مرحبا بكم في موقع صيانة الأجهزة المحمولة إعداد الطالبة/ دعاء محمد الورافي إشراف أ.د/ أنور الوحش مفهوم الأجهزة المحمولة أهمية الأجهزة المحمولة خصائص الأجهزة المحمولة ايجابيات الأجهزة المحمولة سلبيات الأجهزة المحمولة أثر الأجهزة المحمولة في حياتنا أهم مواقع صيانة الأجهزة المحمولة كيف تصبح فني صيانة محترف لأجهزة المحمول مشاكل وأعطال الأجهزة المحمولة وكيفية التعامل معها مفهوم الأجهزة المحمولة تصبح أجهزة الكمبيوتر أصغر حجمًا وأرقًا وخفة وزن أكثر مع كل جيل جديد من تقنيات المستهلك. هاتفك الذكي هو جهاز كمبيوتر تقوم بحمله في جيبك. يمكنك لعب الألعاب المتقدمة مع أنظمة الألعاب المحمولة. يمكنك التفاعل مع هاتفك الذكي باستخدام أداة صغيرة على معصمك. كل هذه الأشياء هي أجهزة محمولة. لا يوجد تعريف قياسي لـ "الجهاز المحمول"، على الرغم من أن هذا المصطلح ربما كان قيد الاستخدام لفترة أطول من مصطلح "الجهاز المحمول". كما يوحي الاسم، يعني الجهاز المحمول ببساطة شيئًا صغيرًا وخفيف الوزن بما يكفي للتنقل والحمل بسهولة نسبية. حتى الكمبيوتر المحمول الأول، فإن Osborn 1، الذي كان وزنه 24 رطلاً، كان يعتبر كمبيوتر محمول. "Portable" هو مصطلح شامل يشمل كل شيء من طابعة يمكن حملها إلى هاتف ذكي تحمله في جيبك الخلفي. حدث هذا المصطلح بشكل متكرر أكثر قبل أن تصبح أجهزة الكمبيوتر المحمولة والهواتف الذكية شائعة، ربما لأنه كان هناك، قبل ثورة الهاتف الذكي، تمييز واضح بين أجهزة الكمبيوتر التي يمكن (بسهولة) نقلها بسهولة وتلك التي لا يمكن أن تكون. أهمية الأجهزة المحمولة للجهاز المحمول أهمية كبيرة في جوانب مُتعددة من حياة المُستخدِم، ومنها الآتي: الاتصال والتواصل تُعتبر الأجهزة المحمولة من أهم طرق التواصل والاتصال الفوري بين الأشخاص في جميع أنحاء العالم، وتتمّ عملية التواصل باستخدام الجهاز المحمول من خلال طرق مُختلفة، حيث يوجد العديد من تطبيقات التواصل الاجتماعي كالفيس بوك، وتوتير، وغيرها الكثير من التطبيقات التي يُمكن استخدامها على جهاز المحمول للبقاء على تواصل دائم مع الأصدقاء والعائلة، من خلال الدردشات الكتابية، أو المكالمات المسموعة، أو حتى المرئية والتي يتمّ إجراؤها بشكل مجاني على هذه التطبيقات. استخدام الإنترنت تُعتبر عملية الوصول إلى الإنترنت من أهم استخدامات وفوائد الجهاز المحمول؛ حيث تُشير الدراسات إلى أنّ المُستخدِم يقضي ما نسبته 10% من إجمالي وقت استخدامه للهاتف المحمول في تصفُح الإنترنت، وذلك من خلال مُتصفحات الإنترنت المُتوفرة على الجهاز والتي يُمكن من خلالها البحث عن المعلومات المُختلفة والوصول إليها بشكل سريع. التطبيقات المتنوعة يُمكن الاستفادة من الجهاز المحمول في تحميل العديد من التطبيقات المتنوعة المفيدة للمُستخدِم في مجالات مختلفة، ومن هذه التطبيقات ما يأتي: تطبيق الخرائط (Maps) الذي يُمكن من خلاله الاستدلال على أيّ موقع والمسافة إليه، فضلاً عن توضيح جميع الطرق والاتجاهات المختلفة المؤدية إلى هذا الموقع. تطبيقات المكتبة الإلكترونية التي يتمّ من خلالها تحميل الكتب على جهاز المحمول وقراءتها ثمّ حذفها عند الانتهاء منها. تطبيقات لتطوير مهارات الفرد اللّغوية كتطبيق القاموس، بالإضافة إلى تطبيقات أخرى يُمكن من خلالها التّعرُف على مفردات جديدة. تطبيقات للتّعرُف على آخر أخبار العالم وبشكل مجاني. تطبيقات لحجز تذاكر السفر بشكل إلكتروني، وغيرها الكثير من الخدمات الأخرى. الترفيه والتسلية يُعتبر جهاز الكمبيوتر ذو أهمية كبيرة في ترفيه المُستخدِم وتسليته، حيث يَستخدِم ما يقارب 42 % من أصحاب الأجهزة المحمولة أجهزتهم لممارسة الألعاب الإلكترونية، أوغيرها من الأنشطة التي تحدّ من الملل؛ كتصفح حسابات مواقع التواصل الاجتماعي، والاطّلاع على رسائل البريد الإلكتروني. سرعة الحصول على المعلومة يُوفر الجهاز المحمول لمُستخدِميه إمكانية الوصول إلى أشكال مختلفة من المعلومات وبشكل سريع، وذلك من خلال العديد من الأدوات الذكيّة التي تتضمنها بعض أنواع الأجهزة المحمولة؛ كمتصفحات الإنترنت، والصور، والمُفكرة، والساعة وغيرها من الأدوات التي يُمكن أن يلجأ لها المُستخدِم لمعرفة شيء معيّن، حيث تُعتبر هذه الأدوات ذات فائدة كبيرة في توفير الجهد والوقت اللّازم للحصول على المعلومة. التعليم والتعلم يُعتبر الجهاز المحمول ذو أهمية كبيرة بالنسبة للطلاب في عملية التعليم والتّعلُم حيث يوفر لهم التواصل مع زملاءهم ومُدرسيهم، كما يتمّ استخدام الجهاز المحمول كأداة رئيسية في عملية التّعلم الإلكتروني الذي يتمّ عن بعد، حيث يمتاز هذا النوع من التعليم بإمكانية وجود الطالب أو المُتعلم في أيّ مكان وأيّ وقت لتلقّي عملية التعليم، كما يُسهل الجهاز المحمول الاحتفاظ بالمعلومات والمعرفة للرجوع إليها عند الحاجة لمراجعتها. الأعمال التجارية يُعتبر الجهاز المحمول أداة حيوية ومهمة بالنسبة لأصحاب الأعمال والموظفين لديهم، حيث يؤدي استخدام هذا الجهاز إلى الكثير من النتائج المفيدة للشركات ومنها ما يأتي: تسهيل تواصل الموظفين مع بعضهم البعض. تطوير وتحسين خدمة العملاء التي تُقدمها الشركات التجارية. يُتيح الجهاز المحمول إمكانية تسيير الأعمال وإنجازها عن بعد من خلال العمل من المنزل أو أيّ مكان آخر. يُعزّز استخدام الجهاز المحمول في الأعمال التجارية من إنتاجية الشركات، وتسريع وتيرة اتخاذ القرارت فيها، حيث يُمكن استخدامه للتواصل مع مندوبي المبيعات في موقع مُعيّن، أو حتى إرسال طلبات عبر البريد الإلكتروني الموجود على الجهاز. يُمكّن استخدام الجهاز المحمول الموظفين من الحصول على المشورة من الأشخاص المُتخصصين وحلّ مُشكلة مُعيّنة. التقاط الصور ومقاطع الفيديو إمكانية استخدام الجهاز المحمول لالتقاط الصور، وتسجيل مقاطع الفيديو من خلال أداة الكاميرا الموجودة على الجهاز، وإمكانية مُشاركتها وإرسالها على وسائل المُشاركة المُختلفة كالبريد الإلكتروني، والرسائل، أو حتى البلوتوث، ويتمّ استخدام الأجهزة المحمولة لالتقاط الصور أكثر ممّا يتمّ استخدام الكاميرا التقليدية؛ وذلك بفضل التحسينات التكنولوجية التي تمّ تطويرها على كاميرات الأجهزة المحمولة. إنجاز المهام اليومية تُعتبر الأجهزة المحمولة ذات أهمية كبيرة في إنجاز الأعمال والمهام التي يؤديها المُستخدِم بشكل يومي وبشكل سهل، حيث يُمكن من خلال الجهاز المحمول حجز سيارة أجرة من خلال تطبيقات نقل مُعينة، أو دفع الفواتير وتسديدها بشكل إلكتروني، أو إتّباع نظام صحي مُعيّن من خلال الاسترشاد بتطبيقات خاصّة بذلك، كما يُوفر الجهاز المحمول أدوات من شأنها تنظيم وقت المُستخدِم كالساعة، والمُنبه، والتقويم، والمُفكرة، وغيرها من الأدوات المُساعدة الأخرى الموجودة ضمناً في هذه الأجهزة. يتمّ استخدام الجهاز المحمول في إنجاز عمليات البيع والشراء الإلكترونية عبر الإنترنت، وتشير الإحصائيات إلى أنّ عمليات التّسوق التي تتمّ عبر تطبيقات الأجهزة المحمولة تفوق تلك التي تتمّ عبر المواقع الإلكترونية، ويعود ذلك غالباً للخصومات التي يتمّ منحها لمستخدِمي تطبيقات الأجهزة المحمولة. أهمية الجهاز المحمول للأطفال يُمكن أن يتمّ الاستفادة من الجهاز المحمول في تعزيز تفاعل الأطفال مع من هم في مثل أعمارهم وممّن يتشاركون نفس الاهتمامات، كما يُتيح الجهاز المحمول للطفل الحصول على خبرة كافية في التعامل مع التكنولوجيا وتطوير مهاراتهم في هذا المجال، ومن الفوائد الأخرى للهاتف المحمول بالنسبة للأطفال هو أنّه يُتيح للوالدين مراقبة أطفالهم بشكل مُستمر وتحديد مكان تواجدهم باستمرار خصائص الأجهزة المحمولة الأجهزة المحمولة لديها خصائص مماثلة من بين هؤلاء: Wi-Fi أو الوصول الخلوي إلى الإنترنت بطارية تعمل على تشغيل الجهاز لعدة ساعات لوحة مفاتيح فعلية أو على الشاشة لإدخال المعلومات الحجم والوزن الذي يسمح بحملها بيد واحدة والتلاعب بها باليد الأخرى واجهة تعمل باللمس في جميع الحالات تقريبا مساعد افتراضي ، مثل Siri أو Cortana أو مساعد Google القدرة على تنزيل البيانات من الإنترنت، بما في ذلك التطبيقات والكتب عملية لاسلكية الدقة. السرعة. الدمج مع البيانات الأخرى. التواجد في كل مكان. طاقة منخفضة. تدريب تقني ايجابيات الأجهزة المحمولة إيجابيات الأجهزة المحمولة يمتلك الجهاز المحمول العديد من المميزات والإيجابيَّات المؤثِّرة في حياة الناس، قد تكون هذه المميزات نتيجة لاستخدام الهاتف فقط، أو عند استخدام شبكة الإنترنت عليه كما في معظم الأجهزة الحالية، ومن أهم هذه الإيجابيَّات ما يأتي: توفير الوقت والجهد يرى الكثير من المستخدمين للأجهزة المحمولة أنَّها قد ساهمت بشكلٍ كبير في توفير الوقت والجهد اليومي، خاصَّة أولئك أصحاب الأعمال؛ إذ يرون أنَّ الجهاز المحمول يُمكِّنهم من الوصول للمعلومات التي يرغبون في الحصول عليها بسهولة ويسر، وفي جميع الأوقات، كما أنَّ استخدام الجهاز المحمول في إدارة الأعمال كان له دورٌ كبير في سرعة إنجاز العمل، ممَّا انعكس بشكلٍ إيجابي على الوقت والجهد الذي كان سيحتاجه الشخص فيما لو لم يستخدم الأجهزة، إلى جانب ذلك، يساعد الجهاز المحمول المستخدم على جدولة مواعيده، واستغلال وقته بأفضل شكلٍ ممكن، بحيث يصبح الشخص أكثر إنتاجيَّة، كأن يستخدم الجهاز المحمول في شيءٍ مفيد خلال فترات الانتظار الطويلة. البقاء على اتصال دائم مع الآخرين من أهم مميزات الأجهزة المحمولة هي إتاحة الفرصة للأشخاص في التواصل مع عائلاتهم، وأصدقائهم بشكلٍ دائم، حتى وإن كانت تفصلهم المسافات البعيدة، أو لا يجدون الوقت الكافي للخروج معًا، ويمكن تحقيق ذلك من خلال مواقع التواصل الاجتماعي المتوافرة بكثرة على الأجهزة المحمولة، مثل: الفيسبوك (Facebook)، وتويتر (Twitter)، والواتس أب (WhatsApp)، والفايبر (Viber)، وغيرها العديد من المواقع التي تقدم الكثير من خدمات الاتصال المجانيَّة مثل المكالمات الصوتيَّة، ومكالمات الفيديو، وإرسال الرسائل النصيَّة، ممَّا ساهم بشكلٍ كبير في تقريب الناس من بعضها بعضًا. زيادة المعرفة والثقافة لم تعُد وسائل الحصول على المعرفة مقتصرة على الطرق القديمة التقليديَّة فقط، مثل: الكتب، أو المعلم، فحاليًا يمكن لأي شخص الوصول إلى المعلومة التي يريدها عبر شبكة الإنترنت، وقد ساعد امتلاك الأجهزة المحمولة في تسهيل هذه العملية؛ لاحتوائها على متصفحات الإنترنت المختلفة، وبالتالي ساهم ذلك في تسهيل عملية الحصول على المعلومات، إلى جانب إمكانيَّة التحقق والتأكد من صحتها. إدارة الأعمال المكتبية في عصرنا الحالي أصبحت التكنولوجيا الحديثة التي تشمل الأجهزة المحمولة من الضروريات التي لا يمكن الاستغناء عنها بأيّ حالٍ من الأحوال في عالم الأعمال، نظرًا للاعتماد عليها بشكلٍ كبير في إنجاز المهام والواجبات بسرعة وكفاءة عالية، إلى جانب تطوير وتعزيز العمليات التجاريَّة، وندرج بعض الإيجابيَّات لاستخدام الجهاز المحمول في الأعمال المكتبيَّة فيما يأتي: تسهيل عملية التواصل بين الموظفين ببعضهم البعض من جهة، وبين الموظفين والعملاء من جهةٍ أخرى، ممَّا ساهم بشكلٍ كبير في التغلب على العقبات المتمثلة في الوقت والمسافات تعزيز التعاون بين أعضاء فريق العمل الواحد، من خلال إتاحة الفرصة للوصول إلى المستندات الخاصَّة بالعمل في أي وقت ومكان، إضافة إلى إمكانية إجراء اجتماعات العمل وعقد المؤتمرات عن بعد عبر تطبيقات مكالمات الفيديو. إمكانية إنجاز العمل عن بعد، وعدم الاضطرار للوجود في المكتب لتحقيق ذلك. تخفيض قيمة الكلفة التشغيليَّة، ممَّا سيوفر على صاحب العمل الكثير من الأموال، مع الحفاظ على الإنتاجيَّة العالية في الوقت نفسه. الحصول على الخدمات البنكية تساعد الأجهزة المحمولة على إتمام جميع الإجراءات المصرفيَّة وخدمات التمويل بطريقةٍ فعالة وسريعة، ودون الحاجة للتقيد بوقتٍ محدد، إلى جانب القدرة على إجراء جميع المعاملات دون الاضطرار للتوجه إلى أحد الفروع البنكيَّة، وإنَّما يمكن إنجازها في المنزل، أو العمل، أو أيّ مكانٍ آخر، علمًا بأنَّ هذا الأمر لا يحتاج إلا الاتصال بشبكة الإنترنت فقط، وبالتالي فإنَّ الخدمات البنكيَّة التي يمكن إجراؤها وتنفيذها من خلال الجهاز المحمول تتمثل فيما يأتي: التحقق من رصيد الحساب البنكي. تحويل الأموال. دفع الفواتير، والمستحقات المالية. التعرف على التصنيف الائتماني، من خلال استخدام تطبيقات خاصَّة يتم تحميلها على الهاتف. مطالعة نشرات التداول اليوميَّة الخاصَّة بسوق الأوراق الماليَّة (البورصة). تسهيل أمور الحياة اليومية تلعب الأجهزة المحمولة دورًا كبيرًا في تنظيم حياة الناس، إذ تجعل عملية إنجاز الواجبات، وأمور الحياة اليوميَّة أكثر سهولة ويسر، وذلك من خلال التطبيقات العديدة المتوافرة في متاجر الأجهزة المحمولة، والتي يمكن تحميلها دون عناء، وبكبسة زر واحدة، حيث تمنح هذه التطبيقات المتنوعة العديد من الخدمات التي باتت ضروريَّة في عصرنا الحالي، ومن الأمثلة عليها ما يأتي: تطبيقات خاصَّة لحجز سيارات الأجرة. دفع الفواتير الماليَّة. تطبيق الكاميرا والذي يساعد على التقاط الصور الشخصيَّة، والفيديو وبغض النظر عن المكان والزمان. نظام تحديد المواقع العالمي (بالإنجليزيَّة: GPS) الذي يتيح إمكانية تحديد المواقع والعناوين في أيّ مكانٍ في العالم. تطبيقات تساعد الشخص على تنظيم وقته ومواعيده، مثل: المنبه، والمستندات، والتقويم، وساعة التوقف. سهولة الوصول للمساعدة في حالات الطوارئ قد يتعرض الكثير من الأشخاص لبعض المواقف الطارئة، التي تحتاج إلى طلب المساعدة بشكلٍ فوري سواء من الأهل، أو الأصدقاء، أو الشرطة، ومن ضمن هذه المواقف التعرض للحوادث، أو تعطل السيارة، أو إضاعة الطريق الصحيح، لذا فوجود الجهاز المحمول سيساعد بشكلٍ كبير في مثل هذه الحالات، للحصول على المساعدة المطلوبة بصورة سريعة وسهلة، إلى جانب ذلك فإنَّ الأجهزة المحمولة تتيح للأهل خاصيَّة الارتباط والتواصل مع أولادهم في الأوقات التي لا يكونون معهم فيها، ممَّا يساهم في زيادة درجة الاطمئنان لدى الأهل. جعل الأطفال أكثر مسؤولية تساهم الأجهزة المحمولة في تنمية حس المسؤوليَّة لدى الأطفال بشكلٍ كبير وفعّال، وبصورة عمليَّة، إذ إنَّ امتلاك الأطفال للهواتف النقالة يساعد على تعليمهم كيفية تحمل مسؤوليَّة الحفاظ على ممتلكاتهم الخاصَّة، وحمايتها من التلف أو الكسر، وذلك لمعرفتهم بوجود عقاب في حالة الإهمال، إلى جانب ذلك فإنَّ تحديد الوالدين للإرشادات والتعليمات الخاصَّة باستخدام أبنائهم للهواتف النقالة مثل: إلزامهم بعدم تجاوز عدد معين من الرسائل النصيَّة، أو عدم تعدي الدقائق المحددة عند إجراء المكالمات الهاتفيَّة، يساهم بشكلٍ كبير في تعزيز مفهوم الالتزام بالواجبات التي توكل لهم، وتقبلها بصدرٍ رحب. الحصول على التعليم الإلكتروني بسهولة أصبح التعليم الإلكتروني، الذي يُطلق عليه أيضًا اسم التعليم الذكي، جزءًا لا يتجزأ من العملية التعليميَّة، والأكاديميَّة في الوقت الحالي، وذلك نتيجةً لانتشار استخدام الأجهزة المحمولة بشكلٍ كبير على نطاق العالم كله، إذ يسَّرت وسهلت هذه الهواتف من إمكانيَّة الوصول إلى شبكة الإنترنت، ممَّا ساهم في تسهيل الحصول على المعلومات، إضافة إلى توفر العديد من التطبيقات التعليميَّة عليها والتي يمكن الاستفادة منها من قِبل الطلاب والمعلمين على حدٍ سواء، وندرج أهم مزايا التعليم الإلكتروني باستخدام الأجهزة المحمولة فيما يأتي: إمكانية الحصول على التعليم دون التقيد بمكانٍ وزمانٍ معينين، ودون أن تشكّل المسافات البعيدة أيّة مشكلة في سير العملية التعليميَّة. احتواء شبكة الإنترنت على محتوى رقمي هائل، وشديد التنوع بحيث يلبي جميع الاحتياجات التعليميَّة والعلميَّة، وبغض النظر عن اهتمامات الطالب الشخصيَّة فهو يستطيع الوصول لما يريده من المعلومات المتعلقة بالموضوعات المختلفة، مهما كان نوعها. توفر تطبيقات تعليميَّة تساعد على تشجيع الطالب، وتحفيزه لبذل مجهود دراسي أكبر، وذلك من خلال احتواء هذه التطبيقات على خاصيَّة لإجراء امتحانات دوريَّة، وبشكلٍ ممتع وجذاب، ممَّا يساعد على تقييم مستوى التحصيل العلمي للطالب. رفع المستوى المعرفي والثقافي للطالب خارج نطاق الدراسة، من خلال توفير العديد من الاختبارات، وألعاب الذكاء، والألغاز والتي تساهم في تعزيز مخزون الطالب من المعلومات العامة. بقاء الطالب في تواصل مستمر مع زملائه خلال وجودهم خارج الفصل الدراسي، ممَّا يساعد على سهولة تبادل الملاحظات فيما بينهم، ومناقشة المواد الدراسيَّة، إلى جانب تنظيم المجموعات الدراسيَّة. المساهمة في تنظيم وقت الطلاب، من خلال استخدام تطبيقات التنبيه والتذكيرات. زيادة الترفيه والمتعة تقدم الأجهزة المحمولة الكثير من الخيارات والتطبيقات المتنوعة التي تُعدُّ مصدرًا لتوفير التسلية والمتعة للمستخدم، والتي تساهم في القضاء على شعوره بالملل والضجر، وخاصَّة في أوقات الانتظار الطويلة، أو السفر، إذ يمكن من خلال هذه الهواتف ممارسة العديد من الألعاب المختلفة، أو الاستماع للموسيقى، والأغاني المفضلة، أو مشاهدة الأفلام ومقاطع الفيديو، أو قراءة الكتب الإلكترونيَّة، إضافة إلى إمكانية مشاركة هذه التطبيقات مع الأصدقاء سلبيات الأجهزة المحمولة إيجابيات الأجهزة المحمولة يمتلك الجهاز المحمول العديد من المميزات والإيجابيَّات المؤثِّرة في حياة الناس، قد تكون هذه المميزات نتيجة لاستخدام الهاتف فقط، أو عند استخدام شبكة الإنترنت عليه كما في معظم الأجهزة الحالية، ومن أهم هذه الإيجابيَّات ما يأتي: توفير الوقت والجهد يرى الكثير من المستخدمين للأجهزة المحمولة أنَّها قد ساهمت بشكلٍ كبير في توفير الوقت والجهد اليومي، خاصَّة أولئك أصحاب الأعمال؛ إذ يرون أنَّ الجهاز المحمول يُمكِّنهم من الوصول للمعلومات التي يرغبون في الحصول عليها بسهولة ويسر، وفي جميع الأوقات، كما أنَّ استخدام الجهاز المحمول في إدارة الأعمال كان له دورٌ كبير في سرعة إنجاز العمل، ممَّا انعكس بشكلٍ إيجابي على الوقت والجهد الذي كان سيحتاجه الشخص فيما لو لم يستخدم الأجهزة، إلى جانب ذلك، يساعد الجهاز المحمول المستخدم على جدولة مواعيده، واستغلال وقته بأفضل شكلٍ ممكن، بحيث يصبح الشخص أكثر إنتاجيَّة، كأن يستخدم الجهاز المحمول في شيءٍ مفيد خلال فترات الانتظار الطويلة. البقاء على اتصال دائم مع الآخرين من أهم مميزات الأجهزة المحمولة هي إتاحة الفرصة للأشخاص في التواصل مع عائلاتهم، وأصدقائهم بشكلٍ دائم، حتى وإن كانت تفصلهم المسافات البعيدة، أو لا يجدون الوقت الكافي للخروج معًا، ويمكن تحقيق ذلك من خلال مواقع التواصل الاجتماعي المتوافرة بكثرة على الأجهزة المحمولة، مثل: الفيسبوك (Facebook)، وتويتر (Twitter)، والواتس أب (WhatsApp)، والفايبر (Viber)، وغيرها العديد من المواقع التي تقدم الكثير من خدمات الاتصال المجانيَّة مثل المكالمات الصوتيَّة، ومكالمات الفيديو، وإرسال الرسائل النصيَّة، ممَّا ساهم بشكلٍ كبير في تقريب الناس من بعضها بعضًا. زيادة المعرفة والثقافة لم تعُد وسائل الحصول على المعرفة مقتصرة على الطرق القديمة التقليديَّة فقط، مثل: الكتب، أو المعلم، فحاليًا يمكن لأي شخص الوصول إلى المعلومة التي يريدها عبر شبكة الإنترنت، وقد ساعد امتلاك الأجهزة المحمولة في تسهيل هذه العملية؛ لاحتوائها على متصفحات الإنترنت المختلفة، وبالتالي ساهم ذلك في تسهيل عملية الحصول على المعلومات، إلى جانب إمكانيَّة التحقق والتأكد من صحتها. إدارة الأعمال المكتبية في عصرنا الحالي أصبحت التكنولوجيا الحديثة التي تشمل الأجهزة المحمولة من الضروريات التي لا يمكن الاستغناء عنها بأيّ حالٍ من الأحوال في عالم الأعمال، نظرًا للاعتماد عليها بشكلٍ كبير في إنجاز المهام والواجبات بسرعة وكفاءة عالية، إلى جانب تطوير وتعزيز العمليات التجاريَّة، وندرج بعض الإيجابيَّات لاستخدام الجهاز المحمول في الأعمال المكتبيَّة فيما يأتي: تسهيل عملية التواصل بين الموظفين ببعضهم البعض من جهة، وبين الموظفين والعملاء من جهةٍ أخرى، ممَّا ساهم بشكلٍ كبير في التغلب على العقبات المتمثلة في الوقت والمسافات تعزيز التعاون بين أعضاء فريق العمل الواحد، من خلال إتاحة الفرصة للوصول إلى المستندات الخاصَّة بالعمل في أي وقت ومكان، إضافة إلى إمكانية إجراء اجتماعات العمل وعقد المؤتمرات عن بعد عبر تطبيقات مكالمات الفيديو. إمكانية إنجاز العمل عن بعد، وعدم الاضطرار للوجود في المكتب لتحقيق ذلك. تخفيض قيمة الكلفة التشغيليَّة، ممَّا سيوفر على صاحب العمل الكثير من الأموال، مع الحفاظ على الإنتاجيَّة العالية في الوقت نفسه. الحصول على الخدمات البنكية تساعد الأجهزة المحمولة على إتمام جميع الإجراءات المصرفيَّة وخدمات التمويل بطريقةٍ فعالة وسريعة، ودون الحاجة للتقيد بوقتٍ محدد، إلى جانب القدرة على إجراء جميع المعاملات دون الاضطرار للتوجه إلى أحد الفروع البنكيَّة، وإنَّما يمكن إنجازها في المنزل، أو العمل، أو أيّ مكانٍ آخر، علمًا بأنَّ هذا الأمر لا يحتاج إلا الاتصال بشبكة الإنترنت فقط، وبالتالي فإنَّ الخدمات البنكيَّة التي يمكن إجراؤها وتنفيذها من خلال الجهاز المحمول تتمثل فيما يأتي: التحقق من رصيد الحساب البنكي. تحويل الأموال. دفع الفواتير، والمستحقات المالية. التعرف على التصنيف الائتماني، من خلال استخدام تطبيقات خاصَّة يتم تحميلها على الهاتف. مطالعة نشرات التداول اليوميَّة الخاصَّة بسوق الأوراق الماليَّة (البورصة). تسهيل أمور الحياة اليومية تلعب الأجهزة المحمولة دورًا كبيرًا في تنظيم حياة الناس، إذ تجعل عملية إنجاز الواجبات، وأمور الحياة اليوميَّة أكثر سهولة ويسر، وذلك من خلال التطبيقات العديدة المتوافرة في متاجر الأجهزة المحمولة، والتي يمكن تحميلها دون عناء، وبكبسة زر واحدة، حيث تمنح هذه التطبيقات المتنوعة العديد من الخدمات التي باتت ضروريَّة في عصرنا الحالي، ومن الأمثلة عليها ما يأتي: تطبيقات خاصَّة لحجز سيارات الأجرة. دفع الفواتير الماليَّة. تطبيق الكاميرا والذي يساعد على التقاط الصور الشخصيَّة، والفيديو وبغض النظر عن المكان والزمان. نظام تحديد المواقع العالمي (بالإنجليزيَّة: GPS) الذي يتيح إمكانية تحديد المواقع والعناوين في أيّ مكانٍ في العالم. تطبيقات تساعد الشخص على تنظيم وقته ومواعيده، مثل: المنبه، والمستندات، والتقويم، وساعة التوقف. سهولة الوصول للمساعدة في حالات الطوارئ قد يتعرض الكثير من الأشخاص لبعض المواقف الطارئة، التي تحتاج إلى طلب المساعدة بشكلٍ فوري سواء من الأهل، أو الأصدقاء، أو الشرطة، ومن ضمن هذه المواقف التعرض للحوادث، أو تعطل السيارة، أو إضاعة الطريق الصحيح، لذا فوجود الجهاز المحمول سيساعد بشكلٍ كبير في مثل هذه الحالات، للحصول على المساعدة المطلوبة بصورة سريعة وسهلة، إلى جانب ذلك فإنَّ الأجهزة المحمولة تتيح للأهل خاصيَّة الارتباط والتواصل مع أولادهم في الأوقات التي لا يكونون معهم فيها، ممَّا يساهم في زيادة درجة الاطمئنان لدى الأهل. جعل الأطفال أكثر مسؤولية تساهم الأجهزة المحمولة في تنمية حس المسؤوليَّة لدى الأطفال بشكلٍ كبير وفعّال، وبصورة عمليَّة، إذ إنَّ امتلاك الأطفال للهواتف النقالة يساعد على تعليمهم كيفية تحمل مسؤوليَّة الحفاظ على ممتلكاتهم الخاصَّة، وحمايتها من التلف أو الكسر، وذلك لمعرفتهم بوجود عقاب في حالة الإهمال، إلى جانب ذلك فإنَّ تحديد الوالدين للإرشادات والتعليمات الخاصَّة باستخدام أبنائهم للهواتف النقالة مثل: إلزامهم بعدم تجاوز عدد معين من الرسائل النصيَّة، أو عدم تعدي الدقائق المحددة عند إجراء المكالمات الهاتفيَّة، يساهم بشكلٍ كبير في تعزيز مفهوم الالتزام بالواجبات التي توكل لهم، وتقبلها بصدرٍ رحب. الحصول على التعليم الإلكتروني بسهولة أصبح التعليم الإلكتروني، الذي يُطلق عليه أيضًا اسم التعليم الذكي، جزءًا لا يتجزأ من العملية التعليميَّة، والأكاديميَّة في الوقت الحالي، وذلك نتيجةً لانتشار استخدام الأجهزة المحمولة بشكلٍ كبير على نطاق العالم كله، إذ يسَّرت وسهلت هذه الهواتف من إمكانيَّة الوصول إلى شبكة الإنترنت، ممَّا ساهم في تسهيل الحصول على المعلومات، إضافة إلى توفر العديد من التطبيقات التعليميَّة عليها والتي يمكن الاستفادة منها من قِبل الطلاب والمعلمين على حدٍ سواء، وندرج أهم مزايا التعليم الإلكتروني باستخدام الأجهزة المحمولة فيما يأتي: إمكانية الحصول على التعليم دون التقيد بمكانٍ وزمانٍ معينين، ودون أن تشكّل المسافات البعيدة أيّة مشكلة في سير العملية التعليميَّة. احتواء شبكة الإنترنت على محتوى رقمي هائل، وشديد التنوع بحيث يلبي جميع الاحتياجات التعليميَّة والعلميَّة، وبغض النظر عن اهتمامات الطالب الشخصيَّة فهو يستطيع الوصول لما يريده من المعلومات المتعلقة بالموضوعات المختلفة، مهما كان نوعها. توفر تطبيقات تعليميَّة تساعد على تشجيع الطالب، وتحفيزه لبذل مجهود دراسي أكبر، وذلك من خلال احتواء هذه التطبيقات على خاصيَّة لإجراء امتحانات دوريَّة، وبشكلٍ ممتع وجذاب، ممَّا يساعد على تقييم مستوى التحصيل العلمي للطالب. رفع المستوى المعرفي والثقافي للطالب خارج نطاق الدراسة، من خلال توفير العديد من الاختبارات، وألعاب الذكاء، والألغاز والتي تساهم في تعزيز مخزون الطالب من المعلومات العامة. بقاء الطالب في تواصل مستمر مع زملائه خلال وجودهم خارج الفصل الدراسي، ممَّا يساعد على سهولة تبادل الملاحظات فيما بينهم، ومناقشة المواد الدراسيَّة، إلى جانب تنظيم المجموعات الدراسيَّة. المساهمة في تنظيم وقت الطلاب، من خلال استخدام تطبيقات التنبيه والتذكيرات. زيادة الترفيه والمتعة تقدم الأجهزة المحمولة الكثير من الخيارات والتطبيقات المتنوعة التي تُعدُّ مصدرًا لتوفير التسلية والمتعة للمستخدم، والتي تساهم في القضاء على شعوره بالملل والضجر، وخاصَّة في أوقات الانتظار الطويلة، أو السفر، إذ يمكن من خلال هذه الهواتف ممارسة العديد من الألعاب المختلفة، أو الاستماع للموسيقى، والأغاني المفضلة، أو مشاهدة الأفلام ومقاطع الفيديو، أو قراءة الكتب الإلكترونيَّة، إضافة إلى إمكانية مشاركة هذه التطبيقات مع الأصدقاء أثر الأجهزة المحمولة في حياتنا على الرغم من وجود العديد من الفوائد لتلك الأجهزة الحديثة لا يمكن التغافل عن الأضرار الناتجة عنها، والتي تؤثر بشكل ملحوظ للغاية على الأفراد والمجتمع. فقد أجريت العديد من الأبحاث العلمية لمعرفة كم الأضرار الناتجة عن تلك الأجهزة وتم اكتشاف نسبة كبيرة من الشباب الذين يفضلون العزلة والبقاء بمفردهم على تلك الأجهزة، دون محاولة الاندماج مع المجتمع وبالتالي يصاب عدد كبير منهم بمرض التوحد. أكدت الدراسات العلمية إن أخطر الأضرار الناتجة عن استخدام تلك الأجهزة بكثرة تأثيرها على الأطفال بشكل ملحوظ، حيث أنها تسبب لهم التأخر في الكلام ويمكن ملاحظة ذلك عند مقارنتهم بالأطفال الأخرين بمثل عمرهم ولا يقومون باستخدام تلك الأجهزة. كما أنها تتسبب في عدم نمو الفكر والعقل لديهم بشكل سليم فيصبح هؤلاء الأطفال لا يمتلكون مقدار كافي من الذكاء والمهارات، التي يجب القيام بها في ذلك العمر. إن استخدام تلك الهواتف النقالة بكثرة يسبب الأرق للأفراد وظهور مشاكل عديدة من أهمها عدم القدرة على أخذ قسط كافي من النوم، نتيجة استخدامها لساعات طويلة خلال فترة الليل. يؤكد الخبراء والأطباء إن وجود الهاتف بغرفة الشخص التي ينام بها من أخطر الأمور التي قد يتعرض لها، حيث يؤثر ذلك الأمر على صحته بشكل شديد نتيجة خروج كمية كبيرة من الإشاعات التي تؤثر على المخ وتعرض حياته للخطر. كما أنها تؤثر بشكل كبير وملحوظ على الأطفال في سن البلوغ، وكذلك الشباب الصغار بالسن. من خلال توافر تلك الأجهزة مع الأطفال والشباب الصغار طوال الوقت فمن السهل أن يقومون بمشاهدة الفيديوهات الانتحارية، التي تعمل على تدمير أفكارهم وتعرضهم للخطر الشديد. كما تتسبب تلك الأنواع من الفيديوهات بإصابة الشباب بالاكتئاب ودخولهم بمرحلة الحزن الشديد ونوبات الصرع والقلق النفسي، مما يؤثر ذلك على مستقبلهم ويعمل على تدميره. لذلك يرى الأخصائيون والمقيمون على ذلك النوع من الأبحاث إن استخدام الهواتف الذكية أصبح شائعًا للغاية، وتفاقمت الأضرار عن الفوائد في المجتمع فهي تؤثر على الأفراد بالسلب وتعرض حياتهم للخطر. تتسبب تلك الأجهزة في التأثير بالسلب على الأفراد فيصبحون غير متفاعلون مع المجتمع من حولهم، نظرًا لبقائهم فترة طويلة أمام الشاشات فنجد أنه كلما زاد التحديق لتلك الهواتف وتطبيقاتها كلما قل التفاعل. يصبح أيضًا الأفراد في المجتمع كسولين للغاية فهم لا يقومون بحفظ أي أرقام أو معلومات بعقولهم، بل يقوموا بتسجيلها على تلك الأجهزة من خلال توافر أيقونة تخزين البيانات بها. لا أحد يمكنه الإنكار أن استخدام الهاتف الذكي وشبكات التواصل الاجتماعي المختلفة قد غير شكل العالم بالكامل، وهي بالفعل وسائل لتعزيز التواصل وقطع المسافات التي لولا الإنترنت لما وجدنا سبيلاً في وصلها. ولكن، هل فكّرت من قبل في مدى تأثير الهواتف الذكية على العلاقات الأسرية ومستوى تربية وتنشئة الأطفال؟ كشفت الأبحاث أن استخدام الأبوين للهاتف يُشعر الأطفال بالوحدة - iStock مصطلح جديد في قواميس اللغة الإنجليزية لتوصيف الوباء قد يبقيك هاتفك الخلوي على اتصال بفريق العمل والأصدقاء والعائلة الكبيرة مهما تباعد أفرادها وتناثروا حول العالم، إلا أن الاستخدام المفرط أو غير المناسب يمكن أن يضر بعلاقاتك الأهم والأكثر قرباً منك. يتجاهل العديد من الأشخاص الأفراد الذين يتعاملون معهم خلال اليوم بصورة متكررة، ويستعيضون عنهم بـ "علاقات افتراضية" في "عالم افتراضي"، الأمر الذي قد يهدد علاقات الزواج ويؤثر سلباً على مستوى تربية الأطفال. ووفقاً لقاموس كامبريدج، تم استحداث وصف phubbing لوصف تلك الحالة، وهي تعني "فعل تجاهل شخص ما أنت معه مكانياً والاهتمام بهاتفك المحمول بدلاً من ذلك". هذه في الواقع عادة استخدام قهرية للهواتف المحمولة؛ لدرجة أن الهواتف التي من المفترض أنها "تعزز تواصلنا بالآخرين" باتت تدمر العلاقات الحقيقية في حياتنا، وهي تضر أيضاً بمستويات الأنشطة اليومية للشخص بشكل عام. الشخص المشتت دوماً بهاتف المحمول أصبح غير محبوب اجتماعياً - iStock ويقول الكاتب الأمريكي جيمس روبرتس وفقاً لموقع Very Well Mind إنه "عندما تكون مع شخص ما وتجده يتفقد الهاتف المحمول في يده باستمرار، أو يتصفح التطبيقات، أو يرسل رسائل نصية، أو ينخرط كلياً فيما يتلقاه عبر الهاتف، فقد تشعر بالإهانة وأنك لست مع هذا الشخص بشكل كامل". يُنظر أيضاً إلى مثل هؤلاء الأشخاص المنصبّين على هواتف في اللقاءات الجماعية على أنهم أقل تفاعلاً وحميمية وأكثر سلبية وعدائية. على العكس، دائماً ما يكون الاتصال وجهاً لوجه أكثر فاعلية في توصيل المشاعر والإحساس بالتواصل البشري الضروري للسلامة النفسية، بحسب Marriage. تشتت الآباء عن أطفالهم في مراحل حساسة من تكوينهم على الرغم من أن الآباء مسؤولون عن وضع حدود لوقت الشاشة لأطفالهم، فإن متطلبات العالم الحديث- وواجبات العمل والحياة المنزلية- يمكن أن تجعل من الصعب على الآباء التوقف عن العمل والحد من استخدام هواتفهم. إذ باتت إمكانية الاتصال المستمرة التي تسمح به الهواتف المحمولة تزيد من صعوبة إدارة الوقت الخاص ووقت العمل، ويمكن أن يؤدي الأمر إلى تشتت انتباه الأب والأم عن طفلهم بصورة كبيرة. وبينما يُعتقد أن الآباء يقضون وقتاً أطول مع أطفالهم مما كان عليه الأمر في الماضي، يُعتقد أن جودة التفاعل نفسها قد انخفضت. واتضح في دراسة استقصائية نشرتها صحيفة New York Post عام 2019، شملت 2000 من أولياء أمور الأطفال في سن المدرسة (الذين تتراوح أعمار أولادهم بين 5 و18 عاماً)، أن نصف المشاركين في الدراسة طلب منهم أطفالهم وضع هواتفهم جانباً والانتباه لهم. مشكلة الانشغال بالهاتف انتقلت إلى الأطفال أيضاً - iStock ويدرك الآباء بالفعل أن الوقت الذي يقضونه أمام شاشات الهاتف الذكي تمثل مشكلة، إذ أقر 62% ممن شملهم الاستطلاع أنهم يقضون بالفعل الكثير من الوقت على هواتفهم المحمولة أثناء وجود أطفالهم. ومع ذلك، فإن الحديث عن تقليل استخدام الهاتف أسهل من الفعل، ففي دراسة أخرى نشرها موقع Medium، قال 69% من الآباء الذين شملهم الاستطلاع إنهم يشعرون أنهم "مدمنون" على هواتفهم. وبناء على ذلك، ثبت أن مدة إمضاء الآباء الوقت مع أطفالهم تجاوزت مدة استخدام الهاتف خلال اليوم بنصف ساعة فقط. وكشفت النتائج أن المستطلعين قضوا ساعتين و17 دقيقة من الوقت الشخصي على هواتفهم يومياً، مقارنة بساعتين و41 دقيقة من الوقت الخالي من الشاشة مع أطفالهم. الأطفال يعانون بدورهم بعد أن أصبح الهاتف "وسيلة تربوية" المشكلة لم تتوقف فقط عند استخدام الهاتف المفرط لدى الآباء بشكل جعل وقتهم الثمين في طفولة أبنائهم محدوداً فحسب، بل انتقلت المشكلة للأطفال بدورهم، وذلك لأنهم يرون الآباء يفعلون ذات الأمر طوال الوقت. وبحسب Medium، شعر 74% من الآباء بالقلق من أن أطفالهم يقضون الكثير من الوقت في التحديق في شاشات الهواتف، بمتوسط ساعتين يومياً. في الوقت نفسه، كشفت النتائج أيضاً أن الشاشات أصبحت الآن أداة متكاملة للأبوة والأمومة. ووافقت غالبية المستجيبين، بنسبة بلغت 83%، على أن "الهواتف الذكية وشاشات التكنولوجيا أصبحت ضرورية في تربية الطفل في هذا العصر". الوقت الأسري في عصر الهواتف الذكية أصبح "مثيراً للوحدة" كشفت دراسة بريطانية نشرها موقع Wiley Online Library العلمي عام 2019، أنه حتى جودة الوقت التي تحظى بها الأسرة معاً في المنزل أصبحت خالية من القيمة والتأثير النفسي المرجو بسبب استخدام الهاتف بشكل مفرط. وقامت الدراسة بتحليل الجدول الزمني للآباء وأطفالهم ممن تتراوح أعمارهم بين 8 و16 عاماً، مرة في عام 2000 ومرة أخرى في عام 2015 – وهي الفترة التي شهدت تغيراً تقنياً سريعاً. وعلى عكس التوقعات، اتضح أن الأطفال باتوا يمضون وقتاً أطول في المنزل مع والديهم في عام 2015 مقارنة بعام 2000. وهذا يعادل ما يزيد قليلاً عن نصف ساعة إضافية يومياً. لكن بالنظر عن كثب، قال الأطفال إنهم كانوا يشعرون "بالوحدة" خلال كل هذا الوقت الإضافي في المنزل مع آبائهم. وبهذا المعنى، فهم يمضون الوقت معاً لكن في وِحدة. واتضح أن الأطفال والآباء أمضوا نفس القدر من الوقت تقريباً (حوالي 90 دقيقة) في استخدام الهاتف عندما يكونون معاً في وقت ثمين مشترك بينهما، أو ما يُسمى بـ "Quality Time". ولفتت صحيفة Independent إلى أن الأبحاث والاستطلاعات المختلفة حول المشكلة تشير بما لا يدع مجالاً للشك أن الحضور (غير المشتت) بين أفراد الأسرة يدعم العلاقات ويوطدها. كما تشير الأدلة نفسها إلى أن التكنولوجيا التي تهدف إلى ربطنا، تقوم للمفارقة بتقويض اتصالنا بأهم الأشخاص في حياتنا. لذلك في المرة المقبلة التي تشيح بوجهك عن شريك حياتك أو طفلك لكي تتصفح رسالة بريدية جديدة، فكِّر ملياً فيما ستخسره من وقت وحميمية لن تُعوَّض. أهم مواقع صيانة الأجهزة المحمولة أحبتي زوار موقع صيانة الأجهزة المحمولة عبر هذه التدوينة أقدم لكم أهم مواقع دورة صيانة الأجهزة المحمولة مجاناً للمبتدئين الذين يرغبون في تعلم صيانة الأجهزة النقالة نظراً للانتشار الواسع للأجهزة المحمولة الحديثة وكثرة استخدامها فمن الطبيعي أيضاً كثرة تعطيلها وبالتالي أصبحت الحاجة إلى إصلاحها حاجة ضرورية، ولأن كلفة الإصلاح باهضه بالإضافة إلى العناء المستمر لأصحاب محلات الصيانة والإصلاح فقد بدأ بانتشار المواقع التي تهتم بأمور إصلاح الأجهزة المحمولة بالإنترنت على كافة مواقع التواصل في هذه التدوينة سنعرض عليكم أعزاءنا الزوار بعضاً من هذه المواقع الالكترونية التي ستساعدكم في إصلاح كافة الأعطال التي تتعرض لها أجهزة الموبايل وصيانتها بكل سهولة وبشرح توضيحي مفصل دون التعرض لابتزاز أصحاب محلات الصيانة ومن أفضل مواقع صيانة الهواتف هي: 1- موقع Gem flash وهو أضخم تطبيق تعلم صيانة الموبايل وهو موقع يحتوي على اعداد كبيرة من المختصين بصيانة الهواتف الاندرويد Android الحديثة وكذلك المهاريين الذين لديهم خبرة في مجال تصليح كافة أنواع الموبايلات وإعادة تشغيلها بأسرع الأوقات وأقل التكاليف كذلك هو تطبيق يدعم اللغة العربية ومن السهل التعلم منه والاستفادة السريعة من شروحاته يتضمن شرح مبسط عن كافة أجهزة الهواتف الحديثة مثل أجهزة الأيفون وأجهزة سامسونج وهواوي وبقية الأجهزة كما يقدم دورة صيانة الجوال من الصفر للاحتراف وخاصة للمبتدئين يتمتع بواجهة رائعة ومقسمة لتسهيل البحث عما تبحث عنه وهو أفضل مواقع إصلاح الهواتف وصيانتها بأسهل الطرق 2- موقع I Fixit متخصص في صيانة الهواتف يعتبر برنامج I Fixit من أهم مواقع الإصلاح والصيانة لأجهزة الهواتف المحمولة على الإنترنت وذلك لأنه يحمل في محتواه على الكثير من مقاطع الفيديو الخاصة بتعليم صيانة الجوال والتصليح وطرق إتباعها مع إرفاقها بصور واضحة من أجل توضيح وتعليمكم وطريقة تفكيك الموبايلات وعملية إصلاحها بشكل واضح وسهل للغاية والذي يدخل في مجال صيانة المحمول والكشف عن أعطاله ويعتبر اروع منتدى تصليح الهواتف النقالة من بين المنتديات كما يمكنكم تحديث هذا البرنامج بشكل دوري للإطلاع أحدث الطرق في صيانة الهواتف دوناً عن بقية البرامج الاخرى كذلك يدعم طريقة الكشف عن أعطال الكاميرات ومفاتيح تشغيل الألعاب التي تمارسونها والتي قد تتعرض لأعطال مفاجئة ايضاً يقدم مقاطع توضيحية من خلال مقاطع فيديو تتضمن شرحاً موسعاً وبإمكانكم طرح أسئلة حول النقاط التي يصعب استيعابها وهو يقوم بالرد والإجابة عليها بكل سرعة وسهولة في التوضيح والشرح للتحميل في هذا الرابط من هنا https://www.ifixit.com/ 3- موقع REWA Technology موقع متخصص لإصلاح الهواتف المحمولة وهو أفضل موقع صيانة الجوالات المحمولة يتميز هذا البرنامج بأنه يعمل على تفكيك الأجهزة المحمولة بطريقة سهلة وتتضمن شرحاً بسيطاً والكشف عن العطل والقطعة التالفة الموجودة وطريقة استبدالها بكل سلاسة وهدوء كما يمتلك هذا التطبيق ميزة عرض عن طريق مقاطع تصويرية فيديو من أجل تعلم صيانة الموبايل للمبتدئين وكذلك معرفة كيف يتم الكشف عن الاعطال ومعالجتها او استبدالها كما يمكنه صيانة وإصلاح بعض القطع الخارجية مثل الكاميرا وفحص البطارية ومعرفة ما إذا كانت بحاجة إلى استبدال أو لا، كما أنه يملك خصوصية الإجابة على الأسئلة التي تُطرح عليه ومن ثم الإجابة عليها مع عرض صور مرفقة للتأكيد والشرح كذلك يساعد موقع REWA Technology على إيجاد الادوات والمعدات اللازمة في عملية الصيانة وذلك من خلال ايقونة خاصة حيث يمكنكم شراء هذه المعدات كما انه يقدم معلومات عن صيانة الموبايل وتأمين مستلزمات الصيانة والإصلاح للتحميل رابط الدخول للموقع من هنا https://%20/www.rewatechnology.com/ تعليم صيانة أجهزة الموبايل على منتدى Gym-Flash منتدى Gym-Flash منتدى جد رائع وشامل ومتاح باللغة العربية، حيث ستجد فيه أي شيء سيخطر على بالك يهتم بالعديد من المواضيع ومن أهمها صيانة الهواتف وخاصة الأندرويد، ستكتسب تجربة واحترافية في كيفية عمل الفلاش، صيانة هواتف سامسونج، هواتف صينية، لينوفو، الكاتيل، موتورولا، اتش تي سي، الهواوي، الهواتف اللوحية الصينية… لا يمكننا حصر جميع فوائد المنتدى، تصفح أقسام المنتدى وتكتشف كل شيء. والجميل في الأمر هو شموليته حيث ستجده مقسم بطريقة تسهل عليك إيجاد ما تريد من صيانة السوفتوير أو الهاردوير وغيره. لزيارة المنتدى وتعلم صيانة الهاتف يرجى الضغط هنا https://www.gem-flash.com/vb/forum.php تطبيق: تعلم صيانة الموبايل من الصفر وحتى الاحتراف. تطبيق يتضمن محتوى مهم ومجموعة من الأقسام، هذه الأقسام متدرجة من الصفر إلى الاحتراف في هذا التطبيق تجد فيه قسم يشير لك إلى أهم المواقع الموجودة حاليا في مجال تعليم صيانة الهواتف النقالة. لتنزيل التطبيق يرجى الضغط هنا https://play.google.com/store/apps/details تطبيق Learn mobile repair صيانة الأجهزة الذكية. تطبيق رائع، تجد فيه دورات تدريبية في تعليم صيانة الهواتف النقالة، يتضمن التطبيق عدة أقسام، بدءا من الصفر (للمبتدئين) إلى الاحتراف في مجال تعلم صيانة الهواتف النقالة. لتحميل التطبيق يرجى الضغط هنا https://play.google.com/store/apps/details?id=com.mobile.repairing&hl=ar&gl=US تطبيق موسوعة مشاكل الهاتف واصلاحها. يمكنك تعليم صيانة الهواتف النقالة عبر تطبيق: موسوعة مشاكل الهاتف واصلاحها، التطبيق سهل الاستخدام ومتاح بدون تسجيل ومجانا، يوفر لك التطبيق حلولا لمختلف مشاكل الهاتف الشائعة واصلاحها دون الذهاب الى مركز الصيانة، بالطبع هذا التطبيق سيساعدك في الحصول على المواهب الإضافية بحيث يمكنك كسب شيء دون دفع أي شيء، ويمكنك تصفح التطبيق بدون الاتصال بالإنترنت لتنزيل التطبيق يرجى الضغط هنا https://m.apkpure.com/ar/betiqnicom.machakil.hatif.phoneproblem موقع Repair Universe. يعتبر من أفضل المواقع التي تقدم دورات تكوينية في تعليم صيانة الهواتف النقالة بمختلف أنواعها وإصداراتها، حيث يحظى محتوى الموقع بتقييم مختلف الشركات المصنعة للهواتف، لا يمكننا حصر جميع مزايا الموقع، فاترك لك الفرصة لاكتشاف محتوى الموقع، ويمكنك متابعة قناة الموقع أعلاه لزيارة الموقع يرجى الضغط هنا https://www.repairsuniverse.com/ تعليم صيانة الهواتف النقالة على موقع Cellularrepairschool. لا يمكننا أن نفضل هذا الموقع على سابقيه، لأنه موقع غني عن التعريق، موقع لشركة أمريكية يقدم مجموعة من الدورات التدريبية، وفي آخر الدورة يمنحك شهادة، كل ما يقدمه الموقع مجاني، ويتيح حتى البث المباشر لإيجاد الحل لمشاكل متتبعيه. لزيارة الموقع يرجى الضغط هنا https://cellularrepairschool.com/ كن خبيرا في صيانة الموبايل والأجهزة الذكية في خمسة أيام مع موقع Wildpcs. هذا الموقع مختلف عن المواقع الأخرى من حيث مدة التكوين، سيُمَكِّنُك الموقع من تعليم صيانة الهواتف النقالة والحواسيب في تداريب تكوينية في مدة خمسة أيام فقط عن طريق بث مباشر يجمعك مع خبراء إصلاح الأجهزة. لزيارة الموقع يرجى الضغط هنا https://www.wildpcs.com/ كيف تصبح فني صيانة محترف لأجهزة المحمول كيف تصبح فني صيانة محترف لأجهزة المحمول: يميل العديد من الطلاب لمهن مثل كونه طبيبًا أو مهندسًا. حسنًا، من الآمن أن نقول اليوم أن شركات الهواتف الذكية تحقق أرباحًا أكثر بكثير في عالم اليوم. لا تقارن هذه الأعمال بتلك المهن، ولكن إذا كنت، كطالب، تبحث عن خيارات أخرى، فمن الحكمة أن تصبح فني إصلاح هواتف. قبل أن تتساءل عن كيفية أن كيف تصبح فني صيانة محترف لأجهزة المحمول، دعنا نوضح بعض الأشياء. أصبحت الهواتف المحمولة ضرورة للجميع في العالم الحديث، والعمل كفني لإصلاح الهواتف يعد مهمة قيّمة للقيام بها. في هذا الدليل، سوف نأخذك عبر أهم الخطوات التي تحتاج إلى اتباعها لتصبح فني إصلاح هواتف خلوية. كيف تصبح فني إصلاح الهاتف قبل أن نبدأ، نريدك فقط أن تعرف أن هذا الدليل مخصص للأشخاص الذين يستمتعون بفتح الأجهزة الإلكترونية. نحن نؤمن على قدرتنا بتزويدكم بالمعلومات القيمة. إذا لم تكن متأثرًا بالتكنولوجيا والأدوات في السوق، فلا داعي للقلق بشأن كيفية أن تصبح فنيًا لإصلاح الهاتف أو أين تجد التدريب. ومع ذلك، فلنبدأ الخطوة 1: أكمل تعليمك ودراساتك الأكاديمية التعليم الأكاديمي هو أساس لا يمكن الاستغناء عنه، وإذا كنت لا تزال طالبًا، فأنت بحاجة إلى التركيز على دراستك قبل التخطيط لمشروع إصلاح الهاتف. يعد إصلاح الهاتف وتعلم كل شيء مهارة لها فرص مناسبة للتحول إلى مهنة. لكن التعليم الأكاديمي إنه يبني الأساسيات كطفل ويجعلك متعلمًا أفضل وفنيًا أفضل لإصلاح الهاتف الخليوي وأداءً أفضل. لذلك، يمكن للمرء أن يكمل الأكاديميين ويدخل في صناعة إصلاح الهواتف الذكية التي تبلغ تكلفتها 4 مليارات دولار. الخطوة 2: تعرف على جميع أنواع الهواتف الذكية التكنولوجيا، كما ترى من حولك اليوم، واسعة جدًا ويمكن للمرء أن يستمر في التعلم لمدة 100 عام من حياته ولا يزال يفوت الكثير منه. بصرف النظر عن المقارنات، يشتمل سوق الهواتف الذكية على مجموعة متنوعة من المشكلات والتشخيصات المختلفة. لفهم المفهوم الكامل لاستكشاف مثل هذه المشكلات وإصلاحها، يتعين على المرء التعمق في التفاصيل لمعرفة كل شيء عنها. لا تفكر كثيرًا في مقدار ما يفعله فني إصلاح الهاتف الخلوي وبدلاً من ذلك، ركز على تعلم مهارات جديدة. تعمل الهواتف الذكية على أنظمة التشغيل الثلاثة الشائعة هذه، وهي iOS وWindows وAndroid. يتوافق Android مع أكبر نسبة من الهواتف الذكية، في حين أن مستخدمي iOS وWindows نادرون جدًا. أثناء تدريبك، حاول أن تفهم الأنواع المختلفة من المشاكل في جميع أنظمة التشغيل الثلاثة هذه لتعزيز مجموعة مهاراتك. الخطوة 3: انضم إلى معهد إصلاح الهواتف المحمولة بمجرد الانتهاء من دراستك الأكاديمية، حان الوقت للانتقال إلى الخطوة التالية التي تتطلب منك العثور على معهد جيد. يوجد عدد كبير من المعاهد التي يمكن أن تقدم لك دورات في مواضيع مختلفة. يمكنك أن تقرر وتتخذ ما يناسبك وفقًا لمتطلباتك. بمجرد انضمامك إلى معهد مناسب، ستجد جميع الإجابات على أسئلتك مثل كيف تصبح فنيًا لإصلاح الهواتف المحمولة بسهولة. الخطوة 4: شراء بعض الهواتف الميتة والأدوات للتدرب عليها أثناء خضوعك للتدريب في معهد التدريب الخاص بك، عليك العمل على مهاراتك العملية بعد عودتك إلى المنزل. بالنسبة للتدريب المنزلي، يجب أن يكون لديك عدد قليل من الأدوات والهواتف الميتة للعمل عليها. حاول ألا تقلق كثيرًا بشأن كيفية أن تصبح فنيًا معتمدًا لإصلاح الهواتف المحمولة، وحاول التركيز على التدريب. يمكنك فتحها بشكل منفصل حسب الفصول الدراسية الخاصة بك والتعرف على أجزاء مختلفة. حاول تغيير هذه الأجزاء كلما عرفت عنها في فصولك، وهذا سيعزز أدائك. إليك قائمة بالأدوات التي ستحتاجها للبدء - مجموعة مفك البراغي فتاحات المحمول ماصة الفنجان كحول المقياس المتعدد ملاقيط الخطوة الخامسة: ابدأ العمل واكتسب الخبرة لا يعمل التدريب كمعجزة ويتطلب الكثير من الجهد والخبرة حتى بعد التدريب لتصبح فني هاتف محترف. يجب أن تبدأ العمل من خلال التقديم على بعض توصيفات وظائف فني إصلاح الهاتف بمجرد استقرار يديك على الأجهزة. يمكنك البحث عن فرص بالقرب منك والاشتراك في وظيفة فني للحصول على راتب فني إصلاح هاتف جيد ومساعدة من الموظفين الأعلى. الخطوة 6: احصل على المساعدة من الإنترنت الإنترنت مليء بالمعلومات ويمكنك تعلم أي مهارات تحتاجها اليوم في بعض الخطوات السهلة. ومع ذلك، لتحسين مهارات إصلاح هاتفك كفني إصلاح للهاتف المحمول، فإن أفضل طريقة هي البحث عن بعض المشكلات الشائعة في اصلاحاتها. كلما شعرت بأنك عالق أثناء إصلاح بعض المشكلات، يمكنك دائمًا طلب التوجيه من متخصصي الرعاية وسوف يساعدونك. الخطوة 7: كن واثقًا وابدأ أعمال إصلاح الهواتف المحمولة الخاصة بك بمجرد دخولك إلى السوق، لا تنس أبدًا أن هذا السوق يبلغ 4 مليارات دولار اليوم ولا تريد أن تتعثر في وظيفة فنية بسيطة. فكرة واحدة يمكن أن تغير العالم، وهذا كل ما تحتاجه. يمكنك البدء في العمل على تقديم خدمتك للمستخدمين من خلال مساعدتهم في إصلاح الهاتف بطريقة ممتعة. ابدأ مشروعك التجاري بفكرة فريدة وادخل السوق باستراتيجية جديدة لكسب أموال طائلة. ماذا يمكنك أن تفعل بعد تدريب فني إصلاح هاتفك المحمول؟ بعد التدريب على إصلاح الأجهزة المحمولة، إليك قائمة بالأشياء التي يمكنك اختيارها - ابدأ عملك الخاص في إصلاح الهواتف باستثمارات صغيرة. العمل كفني بدوام كامل في شركة إصلاح هواتف مشهورة اعمل بدوام جزئي كفني وتعلم مهارات متقدمة، أو اعمل نحو حياتك المهنية في النصف الآخر. ابدأ أعمال إصلاح الهاتف عبر الإنترنت من المنزل بعد الحصول على شهادة فني إصلاح الهاتف الخلوي. حان الآن دورك. لقد حاولنا تجميع كل خطوة تحتاج إلى القيام بها قبل أن تبدأ عملًا جديدًا لإصلاح الهواتف. الآن، حان دورك لاختيار طريقك نحو النجاح. هناك شيء واحد مؤكد، سيكون عليك العمل بجد لتحقيق هدفك ومحاولة عدم الاستسلام. السوق مليء بالكثير من المنافسين. لذلك، عليك أن تجد طريقتك الفريدة لبيع الخدمات وجذب عملاء جدد. مشاكل واعطال الأجهزة المحمولة وكيفية التعامل معها دليل كامل و شامل لتعلم مجال صيانة الأجهزة المحمولة من الصفر و حتى الاحتراف Download Kutub Best App يرغب الكثير من الشباب بالعمل في مجال صيانة الأجهزة ، بحيث تعتبر مهنة صيانة الهواتف من المهن التي يرغب إتقانها الكثير من الشباب وخصوصاً بعد الاحترافية التي وصلت إليها الهواتف الذكية و كثرة استخدام الهواتف الذكية و انتشارها بحيث أصبحت الهواتف الذكية من أكثر الأجهزة التي يتم استخدامها . ولكن ومع التطور الكبير التي تشهده الهواتف الذكية و المنافسة القوية بين شركات إنتاج الهواتف الذكية ودخول شركات بقوة إلى سوق الهواتف الذكية مثل " شركة هواوي و شركة شاومي " أصبح من الصعب جداً إتقان مجال صيانة الهواتف الذكية بسبب كثرة القطع الالكترونية الموجودة في الهواتف بالإضافة إلى كثرة الأعطال التي تحدث بسبب كثرة القطع الالكترونية ، لذلك في موقع " صيانة الأجهزة المحمولة " سنقدم لكم أهم و أحدث الشروحات في مجال صيانة الهواتف ، بحيث إذا كنت ترغب في تعلم مجال صيانة الهواتف و إذا كنت ترغب في زيادة خبرتك في مجال صيانة الهواتف سيكون موقع " صيانة الأجهزة المحمولة" المرجع الأول لمعرفة كل ما يتعلق بمجال صيانة الهواتف . وفي هذا المقال سنقدم لكم دليل كامل و شامل عن مجال صيانة الهواتف من الصفر و حتى ، بحيث ستتمكن ان تتعلم الكثير من الأمور المهمة المتعلقة بمجال صيانة الهواتف . اولاً : أساسيات صيانة الهواتف لتتمكن من تعلم و إتقان مجال صيانة الهواتف عليك البدأ بتعلم أساسيات صيانة الهواتف ، بحيث عليك معرفة العديد من الأمور التي يجب على أي فني صيانة هواتف معرفتها مثل أسماء القطع الموجودة في الهواتف و معرفة وظيفة كل قطعة من القطع الموجودة في الهواتف ، و طريقة الحصول على الملفات اللازمة في مجال صيانة الهواتف مثل المخططات و الرومات و العديد من الملفات التي ستحتاجها في عملك كـ فني صيانة هواتف . لمعرفة أساسيات صيانة الهواتف : اضغط هنا . https://www.repair-road.com/2019/07/487.html ثانياً : الأدوات الأساسية لفني صيانة الهواتف كما ذكرنا سابقاً أن فني صيانة الهواتف يحتاج إلى الكثير من الملفات اللازمة في مجال صيانة الهواتف ، كما أن فني صيانة الهواتف يحتاج إلى مجموعة من الأدوات الأساسية في مجال صيانة الهواتف . ثالثاً : أسماء القطع الموجودة في الهواتف و معرفة وظيفة كل قطعة موجودة في الهاتف بعد معرفتك لـ أساسيات صيانة الهواتف و معرفتك لـ أهم الأدوات اللازمة لـ أي فني صيانة الهواتف ، أنت الأن جاهز لمعرفة أسماء القطع الأساسية الموجودة في الهواتف ، بالإضافة إلى معرفة وظيفة كل القطع الأساسية في الهواتف . لمعرفة أسماء القطع الموجودة في الهواتف و معرفة وظيفة كل قطعة موجودة في الهاتف : اضغط هنا https://www.repair-road.com/2019/07/485.html رابعاً : دوائر النظام في الهواتف بعد معرفتك لـ أسماء القطع الموجودة في الهواتف و معرفتك لوظيفة كل قطعة موجودة في الهاتف ، يجب عليك معرفة دوائر النظام في الهواتف ، بحيث أن الهواتف تحتوي على العديد من دوائر النظام المختلفة مثل دائرة التشغيل و دائرة الشبكة وغيرها ، و لا يمكنك معرفة دوائر النظام في حال عدم معرفتك لـ أسماء القطع الموجودة في الهواتف بعدها يمكنك معرفة دوائر النظام في الهواتف . لمعرفة دوائر النظام في الهواتف :اضغط هنا https://www.repair-road.com/2019/03/243.html خامساً : مخططات الهواتف الذكية بعد تعلمك لكل ما سبق أنت الأن جاهز لبدأ العمل و التعلم على مخططات الهواتف ، بحيث أنه لا يمكنك العمل على مخططات الهواتف إلا بعد معرفتك لجميع مكونات الهاتف و الدوائر الموجودة في الهاتف وذلك لتتمكن من تحديد العطل و المشكلة بدقة و عدم إهدار الوقت في البحث عن سبب العطل . لتحميل جميع مخططات سامسونج : اضغط هنا https://www.repair-road.com/2019/08/Samsung.html لتحميل جميع مخططات هواتف هواوي : اضغط هنا https://www.repair-road.com/2020/03/4.html سادساً : معرفة مشاكل الهاردوير لتتمكن من العمل على مخططات الهواتف أنت بحاجة لمعرفة أكثر مشاكل الهاردوير إنتشاراً في الهواتف الذكية ، بحيث أن معرفتك للمشكلة وتحديد مكان المشكلة في المخطط حينها لم يتبقى لك الكثير لحل أي مشكلة قد تصادفك أثناء عملك كـ فني صيانة هواتف . وهذه بعض الشروحات المهمة لتتمكن من معرفة بعض مشاكل الهاردوير : لمعرفة حل مشكلة الرقم التسلسلي IMEI لجميع هواتف الأندرويد : اضغط هنا https://www.repair-road.com/2019/08/imei.html لمعرفة طريقة فحص مشاكل الهاردوير في هواتف سامسونج للمبتدئين : اضغط هنا https://www.repair-road.com/2019/07/5314.html سابعاً : الملفات اللازمة لفني صيانة الهواتف تكلمنا سابقاً عن الملفات اللازمة لفني صيانة الهواتف ، و الأن سنقوم بشرح جميع الملفات اللازمة لفني صيانة الهواتف بالتفصيل . برامج صيانة الهواتف المحمولة : هنالك الكثير من البرامج المهمة في مجال صيانة الهواتف المحمولة وخصوصاً البرامج التي وظيفتها تحديث الموبايلات أو تركيب السوفتوير الرومات للهواتف مثل برنامج اودين و غيره الكثير من البرامج . لتحميل أهم البرامج اللازمة لصيانة الهواتف : اضغط هنا https://www.repair-road.com/2019/07/45.html رومات هواتف سامسونج و هواتف سوني : ذكرنا سابقاً برامج تعمل على تثبيت السوفتوير و الرومات على الهواتف الذكية مثل هواتف سامسونج و هواتف سوني . لتحميل و تحديث جميع رومات أجهزة سامسونج و سوني : اضغط هنا https://www.repair-road.com/2019/07/489.html ثامناً : أشهر الأعطال في الهواتف الذكية و طرق حلها من الجيد أن تكون على علم بـ أشهر أعطال الهواتف الذكية و طرق حلها ، لذلك سنذكر لك أهمها . حلول لجميع مشاكل الشحن في الهواتف الذكية : اضغط هنا لمعرفة الحلول https://www.repair-road.com/2019/07/513.html طريقة إزالة قفل هواتف الاندرويد بدون فقدان الملفات : اضغط هنا لمعرفة الطريقة https://www.repair-road.com/2019/03/4852.html تاسعاً : مصطلحات صيانة الهواتف أثناء عملك في مجال صيانة الهواتف ستصادف الكثير من المصطلحات المنتشرة بكثرة في مجال صيانة الهواتف ، وسنذكر لك أهمها . لمعرفة ما هو الـ FRP : اضغط هنا https://www.repair-road.com/2019/03/frp.html مشكلات الهواتف الذكية وطرق الصيانة نشهد الآن تقدم هائل في التكنولوجيا الحديثة، فقد ظهرت الهواتف الذكية بشكل كبير جدا، وأصبح الجميع يحمل هذه الأنواع من الهواتف، ولكنها قد تعاني من المشاكل والخلل في أدائها، وبالرغم من أن الشركات تسعى جاهدة من أجل تحسين مميزاتها والخصائص الخاصة بها، وحمايتها وتطويرها، فقد تم إطلاق العديد من الإصدارات الجديدة التي تتيح للمستخدم إمكانية التعامل معه بمهارة عالية، ولكن قد يعاني بعض المستخدمين من تلف الأجهزة الخاصة بهم، ولهذا فقد يلجأون إلى تغيير الهواتف المحمولة بجديد، والاستغناء عن الجهاز المعطل، دون أن يتم دفع أي مبلغ تكلفة التصليح أعطال الهاتف وطرق الصيانة تستخدم بعض الطرق لتصليح شاشة الهواتف، والتخلص من الشاشة المكسورة أو المخدوشة، فقد تكون تكلفة إصلاح هذه الكسور التي تتعرض لها الشاشة مبلغ يقدر بثمن هاتف، وهذا الأمر عكس ما كان الإعلان الخاص بالشركة المصنعة يقول، فقد تقع هذه الشاشة المميزة بتقنيات قوية وسهلة ومضمونة، فيتم شراء شاشة أمامية في حالة كسر أو تلف الشاشة الأمامية، ويتم غلق الهاتف وإزالة البطارية منه، ويتم تسخين الشاشة التي تعرضت إلى الكسر، من خلال استخدام مجفف الشعر بحرارة بسيطة تتمكن من تحملها، ويتم وضع الشاشة الجيدة عليها، وهذا حتى تتمكن من لصق الشاشة الأمامية من خلال المادة الصمغية بعد ذلك يتم التخلص من الطبقة المكسورة، من خلال مادة من البلاستيك ومن ثم وضع الشاشة الجديدة عليها، والتأكد من أن جميع الأطراف في اماكنها، ويجب التأكد من أن جميع الوصلات الإلكترونية موجودة بالفعل أعلى الهاتف، حتى تكون في مكانها المناسب، ويجب أن تتم هذه العملية برفق وحرص تام، ويتم ترك الهاتف جانبا لمدة ساعتين على الأقل قبل أن يتم تشغيله مرة أخرى، ويتم التأكد من كفاءة الشاشة وقدرتها على العمل بشكل صحيح مدخل السماعات تالف كيفية صيانة مدخل الهاتف في حالة تعرض مدخل سماعات الرأس إلى التلف، لابد من أن يتم إصلاحه بطرق سهلة، دون اللجوء إلى دفع مبلغ كبير يعرضك للغرامة ليس إلا، وهذه هي الطريقة: يتم شراء شريحة جديدة باسم مدخل سماعات الرأس، ولابد من أن يتم اختيار شريحة تتناسب مع طراز الهاتف، ويتم اغلاق الهاتف ومن ثم فكه بطريقة سهلة، حتى يتم استبدالها والعمل على تركيب الهاتف مرة أخرى وإعادة تشغيلها، والتأكد من أن السماعات تعمل بأداء جيد عطل كاميرا الهاتف كيفية اصلاح عطل كاميرا الموبايل قد يعاني المستخدم من عطل في الكاميرا بعد فترة من شراء واستعمال الهاتف، وقد تقل جودتها في العمل وقدرتها على التقاط الصور بدقة وجودة عالية، وهذا يكون بسبب كثرة سقوط الهاتف على الأرض، فيتم القيام باستبدال شريحة الكاميرا من خلال فك البوردة، ويتم تركيب الهاتف وإعادة تشغيله مرة أخرى، والتأكد من صلاحية الكاميرا على العمل. تشغيل الإنترنت مشكلة توقف الانترنت في الهاتف قد يعاني الكثير من الأفراد المستخدمين إلى الهاتف المحمول بفقدان الإنترنت على الهاتف، ويكون السبب هو الخلل في شريحة الإرسال الموجودة في الكاميرا، وتتم هذه العملية بسهولة وبساطة وبسعر مميز غير مكلف بالمرة فيتم شراء الشريحة الخاصة بالإرسال والعمل على وضعها في الهاتف، من خلال إغلاقه ومن ثم فكه ووضع الشريحة الجديدة بدلا من الشريحة القديمة، الموجودة بجانب الكاميرا الخلفية، ومن ثم القيام بتركيب الهاتف مرة أخرى وإعادة تشغيله بعد ساعتين على الأقل، والتأكد من أن الشبكة تعمل وتستقبل الإنترنت والاتصالات كشف يتم تصليح سماعة الهاتف الأساسية عطل سماعة الهاتف الأساسية في حالة وجود خلل في سماعة الهاتف، يتم فك الهاتف وإحضار شريحة سماعات جديدة، ويتم فك الهاتف من الأمام ووضع الشريحة الجديدة بدلا من الشريحة القديمة، ويتم التأكد من أنها في المكان الصحيح، ومن ثم يتم غلق الهاتف جيدا وتركه لمدة بسيطة وفتحه بعد ذلك، ومن ثم يتم عمل تيست على السماعة ومدى سلامة إجراء المكالمات الصوتية، حتى تتمكن من سماع الأصوات بدقة ومهارة عالية، دون اللجوء إلى تصليح الهواتف مقابل مبلغ كبير من المال، أو التوجه إلى استبدال الهاتف بهاتف جديد بسبب التكلفة العالية، وهذه هي الطرق الحديثة واليدوية التي تستخدم من أجل تصليح الهواتف، وهذا من خلال العمل على شراء شرائح مخصصة من نفس نوعية الهاتف، والعمل على تغييرها مكان الشريحة التالفة كيف تصلح جهاز الكمبيوتر بنفسك كيف تصلح جهاز الكمبيوتر بنفسك https://www.ts3a.com/ متابعة قناة Karam tech https://youtube.com/playlist?list=PLU_b4L7xmO5otHdmPda9wLw4VnzRQ5Eyr كيف أصلح الكمبيوتر بدون فورمات قد تحدث مشاكل وأعطال في جهاز الكمبيوتر ويكون حلها عن من خلال بعض الإجراءات البسيطة ودون اللجوء إلى إي إجراءات معقدة أكثر،ومن المشاكل التي قد يواجهها المستخدم ويستطيع أن يقوم بإصلاحها بكل سهولة ما يلي: عطل الكمبيوتر عند تشغيله عند حدوث هذه المشكلة فإنه لا بد أن يقوم مستخدم جهاز الكمبيوتر من التأكد أن هذا الجهاز متصل أصلاً بالكهرباء، ولا بد كذلك من تفقُد السلك الواصل بين الجهاز وبين مقبس الكهرباء. مشاكل مُتعلقة بالبرامج كمشكلة بطء بعض البرامج ويمكن حل هذه المشكلة من خلال عدة طرق وأبسطها القيام بإغلاق البرنامج ثم إعادة تشغيله، وربما قد يكون هذا البُطئ في البرنامج مرجعه إلى عدم تحديث البرنامج لفترة من الزمن، وقد تحدث مشكلة أخرى لبعض البرامج كأن تبقى عالقة على الشاشة وتصبح كأنها مجمّدة ولحل هذه المشكلة التي قد تواجه مستخدم جهاز الحاسوب يمكن اللجوء إلى إغلاق التطبيق من خلال الضغط على ثلاثة أزرار سوياً في لوحة المفاتيح وهذه الأزرار هي Ctrl و Alt و Delete ومن ثم تحديد البرنامج الذي توجد به المشكلة وإغلاقه. الكمبيوتر يقوم بإعادة تشغيل تلقائية ويمكن لمستخدم جهاز الكمبيوتر عند مواجهة هذه المشكلة أن يقوم بالتأكد من أن نظام التشغيل الخاص بالكمبيوتر لا يقوم بأي تحديثات حيث أن هذه التحديثات قد تقوم بإعادة تشغيل الجهاز لمرات عديدة، وقد تكون هذه المشكلة ناتجة عن ارتفاع درجة حرارة جهاز الكمبيوتر، حيث أن بعض أجهزة الحاسوب تقوم بإيقاف نظام التشغيل الذي يعمل على الكمبيوتر عندما ترتفع درجة حرارة الجهاز بشكل كبير. انقطاع الاتصال بشبكة الواي فاي وهذه المشكلة قد تسبب شكاً لدى المستخدم وصعوبة في تحديد مسبب المشكلة فهل هو جهاز الكمبيوتر أو حتى موجه الشبكة الموجود أو غيرها من الاحتمالات، لذلك لا بد من التأكد من وجود جهاز الكمبيوتر في نطاق مُزوِد الواي فاي وكذلك التأكد من أن كرت الشبكة اللاسلكية المُثبت على الجهاز مُحدّث بطريقة جيدة، ويمكن السماح لنظام التشغيل العامل على الجهاز بمحاولة تصحيح أية مشاكل موجودة على هذا الصعيد من خلال النقر على رمز الواي فاي الموجود في شريط المهام. بعض الأجهزة لا تعمل قد تحدث مشكلة عدم عمل بعض ملحقات جهاز الكمبيوتر بشكل صحيح كالفأرة أو لوحة المفاتيح أو اللوحة الخاصة باللمس، ولحل هذه المشكلة فإنه يمكن القيام بفصل الكيبلات التي تربط هذه الأجهزة بالكمبيوتر ومن ثم إعادة وصلها مرة أخرى، وإذا كانت أي من هذه الأجهزة تعمل على بطارية فإنه يجدر تفقُد شحن هذه البطارية. ظهور شاشة سوداء عند بدء التشغيل قد تحدث هذه المشكلة وتظهر شاشة سوداء فارغة عند بداية عملية تشغيل جهاز الكمبيوتر، وهذه المشكلة تحدث نتيجة لخلل في أحد الملفات المسؤولة عن عملية إقلاع جهاز الكمبيوتر، ويمكن حل هذه المشكلة من خلال إضافة قرص صلب لإكمال عملية الإقلاع من نحن مرحباً بكم في موقع صيانة الأجهزة المحمولة إعداد الطالبة/ دعاء محمد الورافي إشراف أ.د/ أنور الوحش نحن طلبة قسم تكنولوجيا التعليم والمعلومات شعبة المعلومات المستوى الثالث الدفعه العاشرة ٢٠٢٢-٢٠٢٣	oercommons	2025-03-18T00:34:19.520203	Reading	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/100769/overview", "title": "صيانة الأجهزة المحمولة", "author": "Lesson" }
https://oercommons.org/courseware/lesson/109401/overview	Sign in to see your Hubs Sign in to see your Groups Create a standalone learning module, lesson, assignment, assessment or activity Submit OER from the web for review by our librarians Please log in to save materials. Log in or	oercommons	2025-03-18T00:34:19.635225	Numbers and Operations	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/109401/overview", "title": "SYMBOLIC LOGIC", "author": "Mathematics" }
https://oercommons.org/courseware/lesson/102189/overview	Power semiconductor devices Overview Application of power devices Power devices characteristiocs of power devices Since power devices are used in large power applications it should have the following characteristics: It should have high voltage rating. It should have high current rating. It should have high power rating. It should offer less forward resistance. It should have less forward voltage drop. It should have zero leakage current. It should have capability to handle high temperature. Some of the Power Devices are Power Diode Power BJT Silicon controlled rectifier Triac [TRI AC - 3 Terminals Tri state for AC] Power MOSFET IGBT [Insulated gate bipolar junction transistor] Power devices are used in many applications. The applicatins of power devices can be broasdly classfied into 4 different areas 1. AC to DC converters- Rectifiers 2.AC to AC converters - Voltage controllers 3. DC to DC converters - DC Choppers 4. DC to AC converters - Power Inverters in this article am going to discuss concepts on Fully contrrolled rectifiers only Rectifiers: Circuits that are used to convert AC to DC are called as Rectifiers. As we know the application of DC is enormous, we need to convert AC signal into DC signal. Rectifiers can be designed by using components like diode,SCR etc which are unidirectional in nature. Rectification can be of two types Uncontrolled rectification the angle at which the device start conducting cannot be decided usually designed using components like diodes Controlled rectification The angle at which the device can start conducting can be decided. Usually designed using components like Thyristor (SCR) Single phase fully controlled HALF WAVE Rectifier A fully controlled HWR using SCR is as shown above. It consists of a transformer, SCR & a load ®During –ve Half cycle, SCR will be in reverse biased. Hence it will be in reverse blocking mode. \ During –ve half, no o/p voltage is obtained. During +ve half cycle, anode will be connected to +ve& cathode will be connected to –ve making SCR forward bias. But SCR will be in forward blocking mode, \ o/p is zero. In order to move SCR from forward blocking mode to forward conduction mode, a gate triggering voltage must be applied as shown in the waveform.	oercommons	2025-03-18T00:34:19.665851	sathish r	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102189/overview", "title": "Power semiconductor devices", "author": "Lesson Plan" }
https://oercommons.org/courseware/lesson/86237/overview	Oxygen Cycle Overview This video depicts the cyclic movement of oxygen through the spheres of life. It involves the major reactions responsible for the consumption and regeneration of oxygen in the environment. Biogeochemical cycle This video depicts the cyclic movement of oxygen through the spheres of life. It involves the major reactions responsible for the consumption and regeneration of oxygen in the environment.	oercommons	2025-03-18T00:34:19.680894	09/28/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/86237/overview", "title": "Oxygen Cycle", "author": "Sarah Sayed" }
https://oercommons.org/courseware/lesson/92686/overview	https://view.genial.ly/62856d1ef199c90018e61ab5/interactive-content-quiz-ruleta-genial https://view.genial.ly/62859fbf6ebddd00182977bf/interactive-image-imagen-interactiva https://view.genial.ly/62867fb1b81b6100182b26ef/guide-guia-personajes https://view.genial.ly/62894d48821f0f001837d6af/interactive-content-pregunta-respuestaent-pregunta-respuesta https://www.educaplay.com/learning-resources/12199147-why_visit_huila.html https://www.oercommons.org/editor/documents/12823 Huila tour Overview Have fun and learn about beautiful places that you could visit in Huila. Colombian ICT framework for teachers \| Colombian ICT framework for teachers \| \| \| \| English standars \| English standars \| \| \| \| Let us meet what Huila has (warming up) First activity Simon says In this activity, students will be able to give some information about this video that they already watched. For this reason, the activity conducts them to tackle the information better. So, what they must do is to listen carefully what the teacher tells them, for example, the teacher says, “Simon says what is the typical fruit in Huila department” and according with the video, the participant of the class should answer correctly. Second activity. The Hot chair In this activity, student will need a chair and a board. We are going to conform cluster of people depending to the among of student. The professor is going to write some places and them the student that will be sat down wouldn’t be able to see the letter. So, the rest of the clusters must describe how that place is. And the student must guess what the word is Tourist places of Huila (While activity) Huila tour: read the information about some tourist places in Huila and do the activities relate to that. Padlet Activity 1 Spins the roulette Copy and paste the link and spins the roulette. Activity 2 Sleeping Penguis game Open the link and follow the instructions Activity 3 Instruction: Clic in the link below. Drag the cursor to the buttons and move them to the map, placing them in their respective places. With each button, it will show you a specific place that you must locate on the map and mention four characteristics of those places. Activity 4 In this activity, you will need to read a short text, listen to audio and see images to fill the crossword puzzle. Clue: you must associate the given information with one or two words. Please access the link below in order to start the activity. end (Post-activity) Instructions Some students will be asked to choose one particular touristic place and according to the information presented during the activities, they will be supposed to do a roleplay as Tourist Guide in order to be a leader for tourists. Reminder: Take into account the name of the place, location, activities tourists may do, and so on. Assessment Section Assessment Section Instructions: Students are required to choose the correct answer based on the whole information about differente touristic places of the department of Huila. https://view.genial.ly/62894d48821f0f001837d6af/interactive-content-pregunta-respuesta	oercommons	2025-03-18T00:34:19.714125	Language, Grammar and Vocabulary	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92686/overview", "title": "Huila tour", "author": "Higher Education" }
https://oercommons.org/courseware/lesson/82548/overview	BranchED OER Intersection of Neuroscience, Culture and Learning Overview This OER takes a look at the intersection of human growth and development from a trauma perspective, the neuroscience of learning, specifically how the concepts of survival and exercise influence the student learning process. How does Culturally Responsive Teaching support dependent learners to become Independent Learners and understanding the role of culture in student learning. Unit 1 Introduction to the Course Introduction It is important for educators to develop a better understanding of how culture and school environments influence students of culturally diverse backgrounds to become either independent learners or dependent learners. The actions teacher’s make in the classroom can influence a student’s trajectory to become an independent learner. There are a lot of factors involved in this process including helping culturally diverse students learn how the concepts of habits of mind and using their own cognitive tools to influence personal development. Every teacher needs to strive to develop a solid foundation on the intersection of neuroscience and culturally responsive teaching and how they influence the development of independent learners. The goal of this module is to provided insight into critical components related to this topic, provide sample activities and assessments to gauge the users learning and action steps to put into practice knowledge gained as a result of completing this module. Introduction to the course/unit: This goal of this course is to introduce learners to the concepts of culturally responsive teaching, neuroscience of learning, specifically how the concepts of survival and exercise influence a students approach to the learning process, and the intersectionality of these concepts, and others, to gain a better understanding of developing students into independent learners. Audience: The intended audience of this course is adults, instructors and educators who work with adults, particularly in higher education or the K-12 environment. Length of course: This resource has been designed to supplement three weeks of a semester long course. Unit-level outcomes: While engaging with this unit, learners will: Be able to identify aspects of and define Culturally Responsive Teaching (CRT) Be able to identify different cultural archetypes and their influence on pedagogy and student learning. Be able to identify how the brain responds to different learning environments and cultural expectations. Technology requirements: Students will need access to a computer and the ability to connect to the Internet via a web browser. Required textbooks for this module: Hammond, Z. (2015). Culturally responsive teachign and the brain. Promoting authentic engagement and rigor among culturally and linguistically diverse students. Medina, J. (2008). Brain rules. 12 principles for surviving and thriving at work, home, and school. Unit 1: How culture and school environments influence students learning Unit 1: How Culture and School Environments Influence Students Introduction The focus of this unit is to take a deeper dive into tangential aspects of the classroom composition- what are the key elements that constitute the make up of our learners? How does cutture play a part in how student approach learning? and how does the brain respond to different learning environments. Finally, is there a connection between the three? These questions and other concepts will be explored in this unit. During this journey, you will be presented with content, sometimes asked to be sefl reflective, participate in activites and challenge your personal learning growth by completing summative assessments to gauge your learning. Unit Objectives: Objective 1: Students will be able to identify aspects of and define Culturally Responsive Teaching (CRT) Objective 2: Students will be able to identify different cultural archetypes and their influence on pedagogy and student learning. Objective 3: Students will be able to identify how the brain responds to different learning environments and cultural expectations. Required readings for this module: Chapters 1 and 2- Hammond, Z. (2015). Culturally responsive teaching and the brain. Promoting authentic engagement and rigor among culturally and linguistically diverse students. Chapter on Stress- Medina, J. (2008). Brain rules. 12 principles for surviving and thriving at work, home, and school. Know Yourself One of the first things teachers and future teachers need to take into consideration is who arer their students and what is the make up of each student? What makes them excited? How do they tend to approach learning activities? What is their personal experience outside of the classroom that influences their in-class performance and approach? In order to develop an understanding of your current and/or future students, it is important to also develop a sense of self. In the table below, you will have the opportunity to engage in a variety of self-assessments to take a deeper dive into yourself from different lenses. Take the next section seriously and allow time to complete as many of the assessments as you can. Each assessment as a different focus. Table- Different Self-Assessments Multiple Intelligence Have you thought about multiple intelligences? Please take this quick survey to find out your preferneces. Multiple Intelligences survey. \| Emotional Intelligence is one's abilty to interpret and express their emotions in a pro-social way. Click here to gain insight into your own personal emotional intelliegence. \| Learning Style Are you aware of your preferred learning style? Please take this short survey to find out. \| The Adverse Childhood Experiences Study (ACES) Asessment gives insight into the historical family lived experience of the individual. Scores on the ACES assessment correlate to different life factors including, obesity, smoking, drug use, chronic depression and suicide attempts. To find out your ACES score, please click here. \| Grit and Resilience are two facotrs that contribute to life long positive outcomes for individuals. Do you think you have a high level or low level of resilience? Want to find out? Click here to get a sense of your level of resilience. \| Implicit Biases Are you aware of your implicit biases? Please click here and review the different surveys you can take to gain insight into your personal biases. While there are many to select from, I recommend completing either the Race IAT or the SKin-Tone IAT \| Funds of Knowledge Funds of knowlege include the collection of information we develop through our own individual lived experience. Everyone develops their own funds of knowledge on a daily basis. Each individual's funds of knowledge will vary based on their culture, the environment they live in and their varied life experiences. Table: Different ways to read about Funds of Knowledge \| If you would prefer to watch a video regarding the concept of Funds of Knowledge, click here. \| \| \|\|\|\|\|\|\|\|\|\| \| \| \| Cultural Responsive Teaching According to Hammond, (2015) Culturally Responsive Teaching involves a framework that incorproates four different focus areas. These focus areas include awareness, learning partnerships, information processing, and community building. The first area, awareness, focuses on the teachers ability to understand where there students come from, understand their own personal biases, begin to develop a cultural perspective for all of their students, and to incorporate all of their contextual knowledge into how they engage and respond to their students during instruction. The second area of focus: building partnerships, is an interative prcoess between the teacher and the students to develop a level of multual level of trust based on understanding of both pespectives. This "social-emotional" (p.19) bond between the teacher and the students will allow for openness towards deeper learning be leveraging the strength of the relationship to set high expectations while providing social-emotional support during the learning process. The third area of practice centers on understanding the students cultural perspective as their approach to learning new information and providing support to the students to allow them to engage in deep learning. This is a primary factor for the teacher to utilize hihg-leverage pedagogical instructional techniques to support student learning. The last area of practice focuses on community building. The teacher of the classroom is charged with understanding that their personal cultural perspective will prevail in the learning environment unless they make a conscious effort to infuse elements from multiple cultures into their classroom. This will help facilitate a "socially and intellectually safe space" (p.20). The teacher will foster their dependent learners to expand their learning process by establishing "rituals and routines" (p.20) that reinforce self-directed learning behaviors which will help redefine the students' personal 'academic identity'. Please take the opportunity to learn more about Cultural Responsive Teaching. The table below offers a variety of methods to increase your personal knowledge about this concept. You have the opportunbity to select from reading an documents (article), to listening to podcasts, to viewing short videos on the concept. The aim is to help you develop a better understand of Culturally Responsive Teaching and help you incorporate these ideas into your current and/or future pedagogical teaching methods. Table: Learn about CRT from Article or PPT or Video OR padcast \| Join me in reading the seminal article by Gloria Ladson-Billings and her article Gloria Ladson-Billings, "Toward a Theory of Culturally Relevant Pedagogy" (PDF), American Educational Research Journal, Vol. 32, No. 3 , accessed January 2020. \| Podcast \| Videos \| \|\| Five Essential Strategies to Embrace Culturally Responsive Practices Read about Culturally Responsive Teaching in distance learning \| \| Video about being a warm demander \| \|\| \| Example of Culturally Responsive Teaching at a New Zealand School to address the cultural needs of the Maori students. \| Reach Teach Talk Interview with Zaretta Hammond \| Different Cultural Archtypes According to Hammnond (2015) there are two main cultural archtypes, Collectivism and Individualism. The concept of individualism is primarily previlant in several European cultures while the concept of collectivism is common among most other cultures in the world. To gain greater insight into the concept of Individualism versus Collectivism, please select from the follwoing table. \| Article \| Podcasts \| Videos \| If you wish to read an article to gain greater insight into the differences between collectivism anbd Individualism, please read the following article Darwish, Dr. Abdel Fattah & Huber, Gunter. (2003). Individualism vs. Collectivism in Different Cultures: A cross-cultural study. Intercultural Education,. 14. 47-56 ( USA). 10.1080/1467598032000044647. \| If you would prefer to listen to a podcast about the concepts of collectivism and individualism, please select from the follwoign podcasts: Individualism vs. Collectivism: The Positive Psychology Podcast For the Greater Good- In a Time of Crisis Who do we put first, ourselves or the greater good? \| If you would prefer to watch a video to gain insight into the concepts of individualism vs. Collectivism please selct from the following: Understanding Individualism vs Collectivism Individualism vs. Collectivism: Why it matters in the classroom? Individualism vs. Collectivism The follwoign video looks at individualism vs collectivism from an economic perspective, however, there are classroom implications in this video. \| Brain and Different learning environments Recently, there has been a great deal of discussion regarding the plasticity of the brain. This refers to the brains ability to re-wire itself as a result to internal and external stimuli (Mateos-Aparicio & Rodriguez-Moreno, 2019). Indicating that the brain and a person's intelligence is not fixed, but malleable. This is exciting new research into the brain's ability to increase neuron connections that influence memory and brain development has significant implications, especially in the field of education. The following links provide insight into the concept of neuroplasticity and the brain in relation to student learning. Please take this opportunity to increase your personal knowledge in this area. References Hammond, Z. (2015). Culturally responsive teachign and the brain. Promoting authentic engagement and rigor among culturally and linguistically diverse students. Mateos-Aparicio P and Rodríguez-Moreno A (2019) The Impact of Studying Brain Plasticity. Front. Cell. Neurosci. 13:66. doi: 10.3389/fncel.2019.00066 Medina, J. (2008). Brain rules. 12 principles for surviving and thriving at work, home, and school. Unit 1 Activities Activities Take the following quiz about Funds of Knowledge to gauge your learning (please complete). Please select at least one of the following activites to complete. These activities will allow you to incorporate your new leanrings into your prior knowledge and help you develop a personal connection to these newly learned concepts. Activity #1- Pause and Reflect If you took the opportunity to engage with these self-assessments, you have collected a great deal of data about yourself. Take the next few moments to write a reflection regarding the information you obtained. When reviewing the data, ask yourself the following questions: How accurate was the information obtained in comparison to your initial perception of yourself? Did the data present any Ah-ha moments that surprised you? If there were no surprises, what components of your personal life can you contribute the stability or self-awareness to? How will processing through this information influence your ability to getting to know your students and the assets they bring into the classroom on a daily basis? Activity #2 - Draw your colorful classroom. Create a visual picture of all the students in your classroom. If you teach multiple sections (periods) select one period to draw. After you color your classroom, consider the following questions- Who is represented? Is anyone missing? What do you know about the students in your picture? Finally, what was your inspiration for drawing this classroom composition? Activity #3 - How does the information yu0ou gained through watching the variety of videos about neuroplasticity and the brain in this module provide insight into the approach some of your students act during the instructional day? Activity #4- Why is affect so important to the learning process? Why is it important to allow yourself a break during the teaching year? Unit 1 Assessment Assessment Please select at least one of the following assessments to complete. Option #1- Why is it important to understand about the plasticity of the brain and how teachers can positively affect the students brain growth in new and different areas? As a future educator, where do you feel your strengths and weaknesses lie in this area? For this option, you can write a traditional 2-3 page paper, or create a voice over presentation or you can create a podcast with an accompanied outline of topics for the listerner to use while enjoyiong your podcast. Option #2- As a result of viewing the following resources, First, take some time to create a chart that identifies common themes that align with a Individualism framework and a collecivist framework. (5-10 Minutes). Second, consider the group of students you will be teaching and imagine the ratio of students who align with a individualistic vs. a collectivist perspective. What is that ratio? 20/80? 50/50? 70/30? Please make sure to define what numbers are aligned with the cultural archetype. Then, consider your personal anchor into which archetype you align with- individualism or collectivism. Now that you understand your perspective, you will also have an idea on your bias as well. Now is the time to reflect on how you will honor both cultural archetypes in your classroom as you begin teaching your academic subject. The next part of your activity will be to create some preliminary supports either in the directions you provide, the way you have your students engage with the material, or the way they demonstrate their knowledge that allows both archetypes to be represented and supported during the lesson. Unit 2: The intersection of neuroscience and culturally responsive teaching and how they influence the development of independent learners. Unit 2: The intersection of neuroscience and culturally responsive teaching and how they influence the development of independent learners. Unit Two Objectives: Objective 1: Students will be able to operationally define and identify how the concept of survival influences the student-learning process. Objective 2: Students will be able to operationally define and identify how the concept of exercise influences the student-learning process. Objective 3: Students will connect the concepts of survival and exercise to different pedagogical models that support student learning. Required readings for this module: Chapters 3 and 4- Hammond, Z. (2015). Culturally responsive teachign and the brain. Promoting authentic engagement and rigor aomng culturally and linguistically diverse students. Chapters on Survival and Exercise- Medina, J. (2008). Brain rules. 12 principles for surviving and thriving at work, home, and school. The following tables provide opportunities to gain greater insight into several concepts that play a role in the student's learning process. These concepts include Brain Rules: Survival; Brain Rules Exercise; and insight into the concept of Cognitive Load Theory. Each of these concepts have an effect on learning. Take a moment to process through these links to gain greater insight into what these concepts are and how they play a significant role in how individual access and process information. While you are reviewing each video and podcast, keep in mind, or even better, jot down notes as to how you might be able to incorporate any new ideas into your pedagogy. You will be able to use your notes for the activity section. If you are interested in reading the seminal artlce on Cognitive Load Theory and learning, please check out the link to Cognitive Load during problem solving: Effects on Learning (1988) by John Sweller who is a pioneer in this field. \| Video- The Performance Enhancement- Brain Rules \| Video- Brain Rules: Survival \| Podcast: \| \| Watch this vide on the concept of excercise and the brain \| How to keep your brain healthy through exercise \| How morning exercfise can help your brain through the day. \| Unit 2 Activities Activities Please select at least one of the following activites to complete. These activities will allow you to incorporate your new leanrings into your prior knowledge and help you develop a personal connection to these newly learned concepts. Option #1 Activity- How have you seen the concept of survival expressed in the classroom? Pull from your own personal experience and the experience of your peers and students you have observed in the classroom. What does this look like in the classroom? In what ways do students exhibit behavior that aligns with the concept of survival in the learning environment? As a future teacher, what will you do to adress students expressing signs of survival in the classroom? Option #2 Activity- Write a letter about your most influential teacher. Share what made that teacher so influential in your life and what possibly they did as a teacher that inspired you to become a teacher. What elements we have reviewed so far were part of their teaching repitorie? Option #3 Activity- Using the principles of cognitive load theory, create an infographic that expresses your understanding of how the concepts of survival and exercise play a role in student learning. Please also provide a one paragraph narrative describing your infographic. Unit 2 Assessment Assessment Please select at least one of the following assessments to complete. Option #1- How can we help our students to recognize their own thoughts and anxiety during instruction? What self monitoring strategies can we teach our students to use when they start to experience sensory warning signs? Develop a self-monitoring plan with decision steps and action steps that will provide a pathway for a student to take when they experience thoughts and emotions during a lesson that will help them stay focused on the task at hand. Option #2- After reviewing the previous information, how can you incorporate the concepts of exercise into your daily teaching schedule? Work with a small group to discuss the different ways you can embed purposeful movement into your lessons and identify the connection to the brain regions that will benefit. Option #3- For this assessment option, you will need access to a lesson plan. Either one you have developed yourself or one that you have access to. Using the principles of cognitive load theory and it's implicaitons on learning, how would you incorporate these principles into the pedaogy you would use to teach this lesson? What specific actions, decisions, and supports would you incorporate into your lesson design and application to the learning process? Unit 3: Supporting Dependent Learners to become Independent Learners and Understanding the role of culture in student learning. Unit 3: Supporting Dependent Learners to become Independent Learners and Understanding the role of culture in student learning. Unit Three Objectives: Objective 1: Students will be able to differentiate the difference between an independent and dependent learner. Objective 2: Students will be able to identify habits of mind and cognitive tools to help student’s transition to become an independent learner. Objective 3: Students will be able to understanding how neuroscience, student’s motivation, and pedagogy and learning theories relate to social emotional development and their implications and application for instructional design for all students. Required readings for this module: Chapter 8- Hammond, Z. (2015). Culturally responsive teachign and the brain. Promoting authentic engagement and rigor aomng culturally and linguistically diverse students. Chapter on Wiring- Medina, J. (2008). Brain rules. 12 principles for surviving and thriving at work, home, and school. As you process through the follwoign links to learn more about how independent learners are cultivated in the learning environment; how do the Habits of Mind play a role in student learning; taking a deeper dive into neuroscience and learning; and finally how does trauma play a role in the students learning process, I want you to think about the student's social emotional intelligence and how that is influential within each of these components in the acquisition of information. It is encouraged that you develop a visual diagram to record notes of the key concepts and phrases that you read and/or listen to as you process through the following links. Use the following links to learn more about independent vs dependent learners. \| Helping students become independent learners \| Developing students to become independent learners \| Are you an independent Learner? Take this short quiz and find out. \| Use the following links to learn more Habits of Mind. \| Watch this video to learn more about Habits of the Mind \| Here is a another resource video regarding the concept of Habits of Mind \| Use the following links to learn more about the neuroscinece of learning. \| Video on neuroscience of learning \| Video Lecture on The Neuroscience of Learning. The Heart-Brain Connection: The Neuroscience of social, emotional learning \| Podcast- How the brain learns \| Use the following links to learn more about trauma and the learning process. \| Video on Childhood Drama and Brain development \| Video on Trauma and Brain \| Video on Trauma Informed Practices \| \| Video on Three Trauma Informed Practices by Science \| Video on Trauma Informed School Practices \| Use the following links to learn more about the concept of Growth Mindset. \| Article- Growth Mindset \| Podcast- Growth Mindset \| The Power You can Improve \| Let's have some fun. Before you process on to the activities of this module, take a moment and find out if you have a growth mindset or not. Each of the links below provide and oppoprtunity for you to take a quiz that will give you insight into the concept of self-growth mindset. Before you take your first quiz, write down your personal prediction on whether you think you have a growth mindset or not. Then, take one or all of the quizes. (This will help significantly if you choose to complete Activity option #2). \| Take a Growth Mindset Quiz \| Take a different growth mindset quiz \| How about a third growth mindset quiz? \| Unit 3 Activities Activities Please slect from the following activities to put into practice the knowledge you have gained as a result of completing this module. These activities will allow you to incorporate your new leanrings into your prior knowledge and help you develop a personal connection to these newly learned concepts. Activity #1-Describe at least three different ways to incorporate the Habits of Mind you have learned into your lessons. Please share why you fopcused on these habits of mind? How do they relate to your personal approach to learning? How do they relate to your cultural archetype? Consider what bind spots you may have in incorporating these habits of mind into your lesson. Activity # 2 - As a result of completing each of the three growth mindset quizzes, did you notice any changes in your results? Did you begin to learn how to answer a question for a preferred response? If so, which time you took the assessment do you feel is the real evaluation of your personal growth mindset? Activity #3- As a result of completing this module, describe five (5) new learning ideas you acquired as a result of completing this module. Relate the 5 new learning to your prior experiences. Finally, provide a window of how you will incorporate these five nmew learning ideas into your future pedagogy and connect the expected student learning outcomes as a result of the infusion of your new knowledge. Unit 3 Assessment Assessment The overall purpose for this module was to investigate several concepts that influence student learning in the classroom setting. These concepts have included Funds of Knowledge, Social Emotional Learning, Culturally Responsive Teaching, Cultural Archtypes, Habits of Mind, Truama Based Instruction, Independent and Dependent Learners, Barin Rules concepts of Exercise and Survival and Growth Mindset to name a few. As a future educator, it is your charge to mediate various concepts and learning theories in the development of your lessons and the pedagogyyou use to implement your teaching objectives. Please select at least one of the following assessments to complete. Assessment: Option #1 Given the different elements of the traditional seven-step lesson plan (see below) review the major concepts learned throughout this module (Funds of knowledge, cultural archetypes, concepts of survival and exercise; culturally responsive teaching; trauma based instruction; growth mindset, and dependent and independent learners, connection each of these concepts to a specific part of the seven-step lesson plan and provide a rationale as to why the concept you identified is addressed at that point of the lesson and the affect it will have on student learning. You can complete this overall assessment in one of three ways: a written reflection, a presentation with voice over slides, or through flipgrid or a podcast. Objectives: Set (The hook) Standards and Expectations Teaching: Input; Modleing/ Demonstration; Direction giving; Checking for Understanding Guided Practice Closure Independent Practice Option #2 Create a visual graphic that infuses at least 5 concepts you feel are the most important to support student learning that you learned about through this module. The visuakl graphic needs to include the image of a student. You will determine the demographic characteristics of the student (age, race, ethnicity and gender, for example). The graphic will also need to show how the 5 concepts are infused into the learning environment. The image of the student needs to be somewhere within the learning environment. As a result of someone looking at your visual graphic, they shoudl get a complete sense of the message you are trying to convey. You will need to also create a short paragraph description of the visual graphic. Option #3 Create a Job Aid that incorporates all of the main concetps that you have learned about during this module and the purpose behind the concepts and how you can implement them into your pedagogical model you use during instruction. You are in a sense creating a prompting guide for yourself to refer to during instruction to provide self-created prompts to help you ask, inquire about, or process through during instruction.	oercommons	2025-03-18T00:34:19.769927	06/18/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/82548/overview", "title": "BranchED OER Intersection of Neuroscience, Culture and Learning", "author": "Craig Bartholio" }
https://oercommons.org/courseware/lesson/104287/overview	Shared Perspective: Family Strengths - "15 Positives" Overview Perspective, or how one looks at a situation or makes an assessment, is more or less based on his, her or their experiential knowledge to date. Shared perspectives can open up possibilities and expand one's awareness and understanding. This is the essence of critical thinking! When students' perspectives are shared, and questions are allowed to challenge the biases or judgments that form their opinions, there are opportunities and possibilities to change, enhance, support the perspectives that are meaningful and positive. Assessing Family Strengths - Critical Thinking exercise This collaborative exercise in sharing perspectives is ideally suited to pairing students in teams of 2 or 3 members each. Sttudying the image and discussing their observations. Creating a listing of 15 "positives" or outcomes, and possibilities of the family strengths perceived and represented in the image. Instructor creates full class discussion by asking each team to give one example from their observation list. Perspective, or how one looks at a situation or makes an assessment, is more or less based on his, her or their experiential knowledge to date. Shared perspectives can open up possibilities and expand one's awareness and understanding. And is definitely an exercise in critical thinking! Assignment Prompts: 1. Take a long look at this picture depicting a group living setting. What do you "see" as you study the drawing that shows family strengths and positives in process? What you "see" with your vision, or line of sight, is tangible and multidimensional. What you "see" conceptually, is abstract and limitless. One's perspective comes from both concrete and abstract thinking. 2. An example of looking at this setting with a positive perspective: "Basic needs for survival are being met: examples of food (pizza), clothing (all are dressed), and shelter (housing)" Or: "Basic needs of food, clothing, shelter are necessary for survival"; all three elements are present in this setting. 3. Make a list of 15 POSITIVES/STRENGTHS that are shown or observed as meaningful and significant to family life and relationships. Look for conceptual strengths, like "togetherness", "adult supervision", "self-care, relaxing", child using his "imagination", "consumerism/thriving", "sense of home", "comforts of living", "safe", "sense of order, organized," "cleanliness", etc... Perspective Note: Be aware of any biases, implicit or explicit, that might "cloud" your observations. Such judgmental thinking can lead to negative perspective, and is not allowing critical thinking to take place:-)	oercommons	2025-03-18T00:34:19.790258	Assessment	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/104287/overview", "title": "Shared Perspective: Family Strengths - \"15 Positives\"", "author": "Sociology" }
https://oercommons.org/courseware/lesson/101239/overview	Blood Bank Antibody ID Panel Template Overview This excel file is an antibody ID panel template free of copyright restrictions for use in teaching and creation of immunohematology educational materials. Blood Bank Antibody ID Panel Template <p xmlns:dct="http://purl.org/dc/terms/"> <a rel="license" href="http://creativecommons.org/publicdomain/zero/1.0/"> <img src="http://i.creativecommons.org/p/zero/1.0/88x31.png" style="border-style: none;" alt="CC0" /> </a> <br /> To the extent possible under law, <span resource="[_:publisher]" rel="dct:publisher"> <span property="dct:title">Marianne T. Downes</span></span> has waived all copyright and related or neighboring rights to <span property="dct:title">Blood Bank Antibody ID Panel Template</span>. </p> The following table or attached excel file is freely available for educators to use and edit for educational purposes. This work is free of license and available for public use. \| Panel Lot# Expiration: \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| Rh \| Kell \| Duffy \| Kidd \| Lewis \| MNSs \| Lutheran \| P \| Xg \| Reachtions \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| Cell \| Rh \| D \| C \| c \| E \| e \| f \| Cw \| K \| k \| Kpa \| Kpb \| Jsa \| Jsb \| Fya \| Fyb \| Jka \| Jkb \| Lea \| Leb \| M \| N \| S \| s \| Lua \| Lub \| P1 \| Xga \| cell \| \|\|\|\|\|\| \| 1 \| 1 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 2 \| 2 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 3 \| 3 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 4 \| 4 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 5 \| 5 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 6 \| 6 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 7 \| 7 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 8 \| 8 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 9 \| \| 9 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 10 \| 10 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 11 \| 11 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 12 \| 12 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 13 \| 13 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 14 \| 14 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 15 \| 15 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 16 \| 16 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 17 \| 17 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 18 \| 18 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 19 \| 19 \| \|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\|\| \| 20 \| 20 \|	oercommons	2025-03-18T00:34:20.115172	Case Study	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/101239/overview", "title": "Blood Bank Antibody ID Panel Template", "author": "Assessment" }
https://oercommons.org/courseware/lesson/118283/overview	Scoring a Script Example Overview This learning resource is a script that shows how to use dialogue to express complex emotions and character relationships, helping theatre students create genuine and engaging interactions on stage. Scoring a Script Example This script demonstrates how to use dialogue to express complex emotions and character relationships. Image Attribution: Two by B*lly Frank is licensed CC BY-NC 2.0 Scoring example Marcus: (Command) I need you to look me in the eyes, Monica. (Pause) / (Confront) Why did you say you were busy last night? I know you weren't. // (Provoke) I saw your car parked outside the club. (Pause) / (Appeal to sympathy) We're friends, right? I just want the truth. /// (Reveal) If you can't be honest with me, how can I trust you? // (Reason with) Please, just tell me what really happened. / (Coax) We can work through this together. Monica: (Defensive) I don't know what you're talking about. (Pause) / (Deny) I wasn't at the club. You must have seen someone else. // (Deflect) Why does it even matter where I was? Marcus: (Challenge) Because it matters to me, Monica! / (Guilt-trip) We've been friends for years, and I feel like I can't trust you anymore. // (Implore) Please, just be honest with me. (Pause) / (Explain) I need to know the truth so we can move forward. (Short pause) /// (Appeal to trust) Trust goes both ways, right? / (Befriend) I'm here for you, no matter what. Monica: (Sighs) / (Confess) Okay, you're right. I was at the club. (Pause) / (Apologize) I'm sorry I lied. I just didn't want you to think badly of me. // (Justify) I needed some time to unwind. Marcus: (Reassure) Thank you for being honest. (Short pause) / (Forgive) I understand, Alex. We all need a break sometimes. (Pause) / (Support) Let's just promise to be upfront with each other from now on, okay? Monica: (Relieved) Okay, I promise. Thanks for understanding. Marcus: (Smile) Anytime, Monica. Now, let's go grab a coffee and catch up! In this continuation, Monica moves through denial, deflection, and eventual confession, and Marcus uses various tactics such as challenging, guilt-tripping, imploring, explaining, and befriending to achieve the objective.	oercommons	2025-03-18T00:34:20.134071	Red Rocks CC	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/118283/overview", "title": "Scoring a Script Example", "author": "Student Guide" }
https://oercommons.org/courseware/lesson/84982/overview	Meedan Digital Health Lab- Training / Public Health Tools Overview This resource is published by Facebook Journalism Project’s Global Health Fellowship. The resource is a video training series for Facebook Journalism Project’s Global Health Fellowship with Dr. Christin Gilmer discussing everything from pandemic profiteering to the current COVID-19 crisis, outlining how throughout history, health misinformation has spread real world disease. This resource is published by Facebook Journalism Project’s Global Health Fellowship. The resource is a video training series for Facebook Journalism Project’s Global Health Fellowship with Dr. Christin Gilmer discussing everything from pandemic profiteering to the current COVID-19 crisis, outlining how throughout history, health misinformation has spread real world disease.	oercommons	2025-03-18T00:34:20.151304	Interactive	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84982/overview", "title": "Meedan Digital Health Lab- Training / Public Health Tools", "author": "Journalism" }
https://oercommons.org/courseware/lesson/97535/overview	POL 13--Introduction to American Foreign Policy: Open for Antiracism (OFAR) Overview The goal of the term paper question is to give students agency in discovering the hypocrisy and racism of U.S. foreign policy since (and before) World War II. The students are asked to pick and choose details from peer-reviewed, academic books, which challenges the assumption of the US operating with an ethical framework. The key purpose is for students to understand the following: - What caused past U.S. involvement in foreign wars and interventions? - Were the results of U.S. policies good or bad? - Were the beliefs that guided U.S. policy true or false? Term Paper: Critical Examination on the Hypocrisy and Racism of American Foreign Policy Hypocrisy have been (and continues) to be a feature of American foreign policy. You are now very well aware of US imperialism and soon will become familiar with US covert operations in destabilizing democratic nations. For the term paper, which will be due on the last day of finals’ week, you will need to read Kinzer’s section on “Covert Actions” which is from chapter 6-9. In other words, outside material and/or research should not be integrated into the term paper. This ensures that I evaluate all student work at the same “playing field.” However, aside from reading the additional chapters from Kinzer’s book, you will also need to add details from Briggs’s Reproducing Empire: Race, Sex, Science and US Imperialism of Puerto Rico and Power’s “A Problem from Hell”: America and the Age of Genocide. Meaning, for the rest of the semester, you will be asked to read/skim both these books and use the information from Briggs and Power’s books to build your term paper. So, rather than asking you to do more outside reading and research, I am asking you to slowly and incrementally write your paper throughout the semester. As a general rule, students do remarkably well on their term papers if they “chip away” at it, a little bit at a time. Use the information from all three books and answer the following question: To what extent are your chosen details from Kinzer (chapter 6-9), Briggs (chapter 1-4), and Power (chapter 6, 8, 10, & 11) reflect and/or illuminate the hypocrisy and racism of American foreign policy, thereby, undermining the full potential of a people and/or nation?	oercommons	2025-03-18T00:34:20.164832	09/27/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/97535/overview", "title": "POL 13--Introduction to American Foreign Policy: Open for Antiracism (OFAR)", "author": "Open for Antiracism Program (OFAR)" }
https://oercommons.org/courseware/lesson/84161/overview	In Class Activity or Online Discussion: Song of Roland Literary Quick Take Overview The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement. Literary Quick Takes I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers. n the Analysis for Song of Roland, we spent quite a lot of time dissecting how the politics of the Frankish government transformed an epic about chivalry and faith into a political statement meant to drive the fervor for a new crusade. However, when it comes to demonizing the enemy, Dr. Shay and Dr. Weil, a well-known critic of the Iliad, identify singular sources for the desire to demonize the other. Dr. Weil notes in her work on the Iliad: With the Hebrews, misfortune was a sure indication of sin and hence a legitimate object of contempt; to them, a vanquished enemy was abhorrent to God himself and condemned to expiate all sorts of crimes - this is a view that makes cruelty permissible and indeed indispensable. For both Shay and Weil, monotheism primed these cultures to the need to demonize others and maintain a war-time position that “insists on turning every story into a war of good and evil and a drama of blame and punishment” (Shay 118). I want to introduce another idea. Later in the semester, we will talk more extensively about a concept called Orientalism. Here is a brief introduction: We can see how propaganda plays a significant role in manipulating the narrative. However, we have also seen how the demonizing of the enemy can lead to the "betrayal of what is right" for the warrior, especially if that discrepancy between the propagandist literature and the truth is exposed. Do you agree that it is a shared attribute of monotheistic cultures that leads to demonization, or does it have more to do with the imperialist agenda?	oercommons	2025-03-18T00:34:20.178293	07/23/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84161/overview", "title": "In Class Activity or Online Discussion: Song of Roland Literary Quick Take", "author": "Robert Ladd" }
https://oercommons.org/courseware/lesson/90899/overview	Dance Overview Differences between salsa and bachata Dance In the world today there is a lot of attention to dance many people love to do it. Some do it professionally some do it for fun and socializing. For socializing and having fun the best dances are social latin dances. One of them is salsa and the other is bachata. These dances are similar in some ways but there are many ways they are different as well. I will talk about the differences now and let you choose which one fits you better. The differences between bachata and salsa are really big! If you’ve heard Latin music before you know the difference right away. The timing is the same in both dances, but salsa music tends to be faster y picante (spicy), bachata is slower and kind of suave (smooth), it’s a romantic dance. The basic steps for each of them are completely different. In salsa you have a straight line for the basic steps while in bachata you have latteral movements. Unlike salsa, in bachata dance there are no turns, instead, you bring your partner in close the whole time. Now it is your turn you know some of the major differences between two dances select one of them.	oercommons	2025-03-18T00:34:20.190019	03/11/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/90899/overview", "title": "Dance", "author": "Halit akdoğan" }
https://oercommons.org/courseware/lesson/108677/overview	console . print LetterBuild HTML LetterLibrary: "fastObjects(string)" http://www.dialtosee.com "save page as..." FastObjects() photo OCR commercial Overview Explore the main Optical Character Recognition, alphabetical letter recognizer the code comments begin from the author of LetterBuild: dial2c, & enjoy learning Preliminary Search: function walkthrough Instructions_&_& >> Scroll to: "//SCROLL HERE: A20230919_a" \| function fastObjects(s33k) { //console.log(Date(), "fastObjects"); document.getElementById("eListener").style = "display: none;"; kbHy0(); document.getElementById("wrhouse").disabled = true; document.getElementById("ime").disabled = true; document.getElementById("Vo").disabled = true; var cren = document.getElementById("scaleStill"); var duum = cren.getContext("2d"); duum.imageSmoothingEnabled = false; var Obj1 = document.getElementById("monochrome"); var ObjX = Obj1.getContext("2d"); ObjX.imageSmoothingEnabled = false; var reterr = ""; if(Pane === undefined) { reterr = "empty []"; } if(Llib === undefined) { reterr = "no objects"; } if(s33k === "") { reterr = "seek what?"; } if(reterr !== "") { // duum.drawImage(Obj1, 3, 3, cren.width - 6, cren.height - 6); var disp0 = Math.round(cxy.width * 0.097); var disp1 = Math.round(cxy.height - disp0); var earco = Math.round(cxy.width * 0.0833); duum.lineWidth = 16; duum.strokeStyle = "#FF00FF"; duum.font = earco + "px Courier New"; duum.strokeText(reterr, disp0, disp1); duum.lineWidth = 6; duum.strokeStyle = "#FF0000"; duum.font = earco + "px Courier New"; duum.strokeText(reterr, disp0, disp1); duum.lineWidth = 1; duum.strokeStyle = "#FFFF40"; duum.font = earco + "px Courier New"; duum.strokeText(reterr, disp0, disp1); document.getElementById("ime").select(); return; } var memyI = true; var ci = false, boull = false; var a65 = 0, b66 = 0, c67 = 0; var d68 = 0, e69 = 0, f70 = 0; var g71 = 0, h72 = 0, i73 = 0; var j74 = 0, k75 = 0, l76 = 0; var m77 = 0, n78 = 0, O79 = 0; var t84 = 0, u85 = 0, w87 = 0; var x88 = 0, y89 = 0, z90 = 0; var vol = 0, ume = 0, b1 = ""; var lupk = s33k.toUpperCase(); var p80 = [], q81 = []; var s83 = [], v86 = []; var r82 = []; for(u85 = 0; u85 < lupk.length; u85++) { r82.push(lupk.charAt(u85)); } var chrwren = window.setInterval(function () { duum.drawImage(Obj1, 3, 3, cren.width - 6, cren.height - 6); duum.fillStyle = "#303030"; duum.fillRect(16, 16, 111, 90); duum.font = "26px Courier New"; duum.fillStyle = "#808080"; duum.fillText("" + q81.length, 30, 44); if(m77 % 2 === 0){b1 = "+";}else{b1 = "x";} duum.fillText(b1 + "" + Llib.length, 27 , 64); duum.font = "bold 44px Courier New"; duum.fillStyle = "#FFFF80"; duum.fillText(" " + Math.floor((m77 / Llib.length) * 100) + "%", 20, 97); if(m77 === Llib.length - 1 \|\| Llib[m77] === undefined \|\| !memyI) { document.getElementById("wrhouse").disabled = false; document.getElementById("ime").disabled = false; document.getElementById("Vo").disabled = false; // document.addEventListener("keydown", worKe); document.removeEventListener("keydown", shoKe); /////////////////////////////////////// if(typeof(q81) === "undefined") { console.log("q81[empty] fail."); duum.drawImage(Obj1, 3, 3, cren.width - 6, cren.height - 6); var disp0 = Math.round(cxy.width * 0.097); var disp1 = Math.round(cxy.height - disp0); var earco = Math.round(cxy.width * 0.0833); duum.lineWidth = 16; duum.strokeStyle = "#FF00FF"; duum.font = earco + "px Courier New"; duum.strokeText("no thing", disp0, disp1); duum.lineWidth = 6; duum.strokeStyle = "#FF0000"; duum.font = earco + "px Courier New"; duum.strokeText("no thing", disp0, disp1); duum.lineWidth = 1; duum.strokeStyle = "#FFFF40"; duum.font = earco + "px Courier New"; duum.strokeText("no thing", disp0, disp1); document.getElementById("ime").select(); }else { //console.log(Date(), "end of loop"); window.setTimeout(function () { // var wait = document.getElementById("loadingPage"); // wait.setAttribute("style","display: inline"); // wait.focus(); // wait.play(); s83 = []; s83 = rowird(q81, cren.width / Obj1.width); v86 = []; v86 = st29ng(s83, s33k);//LOSTs33k); Gave(v86); //console.log(Date(), " letters up"); ImgController(1); DIAL2ContactCustomerService = true; console.log(Date(), " words done"); }, 100); clearInterval(chrwren); } } ////console.log(Llib.length); // for(m77 = 0; m77 < Llib.length; m77++) // { ////console.log(m77 + 1, "of", Llib.length); for(f70 = 0; f70 < Llib[m77].length; f70++) { s83 = []; //SCROLL HERE: A20230919_a \| //Llib is all objects within monochrome conversion s83 = Llib[m77][f70]; //https://oercommons.org/courseware/lesson/108522/overview // "s83" is the working copy of the iterated 'object' for multi-dimesional purpose // if(s83 !== undefined && s83.length > 0) { // render object location within 'interval': "chrwren" ObjX.lineWidth = 12; ObjX.strokeStyle = "#008080"; ObjX.strokeRect(s83[s83.length - 6], s83[s83.length - 5], s83[s83.length - 4], s83[s83.length - 3]); z90 = -1; vol = 0; b1 = ""; for(u85 = 0; u85 < r82.length; u85++) { if(u85 < r82.length) { v86 = []; // SwapLetter function in: file >> "LangUS2022UpD.js" // otherwise known as the training array director // for each letter in the search string/array: "r82" << from s33k v86 = SwapLetter(r82[u85]); // https://oercommons.org/courseware/lesson/108604/overview // loop through widths of the training file for(t84 = 0; t84 < v86.length; t84++) { if(v86[t84][v86[t84].length - 2] === s83[s83.length - 2]) { // for qualifying width of object, // record index of matching width = "n78" n78 = t84; break; } } ci = false; i73 = 0; for(d68 = 0; d68 < s83[s83.length - 2]; d68++) { if(s83[d68] === true) {//flat_CRH_ i73 = d68; break; } } while(n78 < v86.length && v86[n78][v86[n78].length - 2] <= s83[s83.length - 2] - i73) { if(ci){break;} ObjX.lineWidth = 8; ObjX.strokeStyle = "#FF00FF"; ObjX.strokeRect(s83[s83.length - 6], s83[s83.length - 5], s83[s83.length - 4], s83[s83.length - 3]); ObjX.lineWidth = 4; ObjX.strokeStyle = "#00FF00"; ObjX.strokeRect(s83[s83.length - 6], s83[s83.length - 5], s83[s83.length - 4], s83[s83.length - 3]); if(v86[n78] !== undefined) { // // optional rotation match "d68" in degrees // for(d68 = 0; d68 < 1; d68 += 5) { if(ci){break;} p80 = []; // proprietary rotation function -- not necessary p80 = graphOf(v86[n78], d68, s83[s83.length - 2]); if(_CRH_ === p80[p80.length - 1]) { w87 = p80[p80.length - 2]; h72 = s83[s83.length - 2] - w87; if(h72 > -1) { k75 = s83[s83.length - 1] - _CRH_; a65 = e69 = 9999; // y-"g71" & x-"j74" for finding partial letter matches // // www.dialtosee.com for(g71 = 0; g71 < k75 + BT(k75 === 0); g71++) { if(ci){break;} for(j74 = 0; j74 < h72 + BT(h72 === 0); j74++) { if(ci){break;} t84 = b66 = 0; for(y89 = g71; y89 < g71 + _CRH_; y89++) { l76 = y89 * s83[s83.length - 2]; c67 = 0; for(x88 = j74; x88 < j74 + w87; x88++) { if(s83[x88 + l76]) { // escape at value true // since null, false array defaulted t84 = b66 = p80[p80.length - 3] + 1; // "t84" threshold for error on exact match }else { if(p80[(j74 + (c67 % w87)) + (w87 * Math.floor(c67++ * g71))] === false) { if(s83[x88 + l76] !== false) { // count mismatch for null b66++; } }else { if(s83[x88 + l76] === false) { // count mismatch for false t84++; } } } if(t84 > p80[p80.length - 3] \|\| b66 > p80[p80.length - 3]){break;} }//x88 if(t84 > p80[p80.length - 3] \|\| b66 > p80[p80.length - 3]){break;} }//y89 // record of how well match is ume = Math.round( ((p80[p80.length - 2] * p80[p80.length - 1] * (s83[s83.length - 3] / _CRH_)) / (s83[s83.length - 4] * s83[s83.length - 3])) * 100); if((t84 < p80[p80.length - 3] && b66 < p80[p80.length - 3]) && (b66 < e69 \|\| t84 < a65) && vol <= ume // change per better match ) { vol = ume; z90 = u85; e69 = b66; a65 = t84; } if(z90 > -1 && u85 === r82.length - 1) { ci = true; // u85 = -1; ////console.log(window.perfomance.memory.jsHeapSizeLimit, window.perfomance.memory.usedJSHeapSize); //// if(q81.length < 32000) //// { if(q81.length > 0) { boull = false; // check for duplicates for(O79 = 0; O79 < q81.length; O79++) { if(s83[s83.length - 6] === q81[O79][1] && s83[s83.length - 5] === q81[O79][2] && s83[s83.length - 4] === q81[O79][3] && s83[s83.length - 3] === q81[O79][4]) { boull = true; q81[O79][0] = q81[O79][0] + r82[z90]; break; } } // if it does not match any then add it if(!boull) { q81.push([ r82[z90], s83[s83.length - 6], //1 s83[s83.length - 5], //2 s83[s83.length - 4], //3 s83[s83.length - 3]] ); //4 } }else { if(q81.length > 5279) { memyI = false; }else { q81.push([ r82[z90], s83[s83.length - 6], //1 s83[s83.length - 5], //2 s83[s83.length - 4], //3 s83[s83.length - 3]] ); //4 } } // }// memory restraints ///////////////////////////// RENDER VISUAL AID ////////////////////////////////////////////// k75 = Math.round(s83[s83.length - 3] / s83[s83.length - 1]); c67 = 0; ObjX.fillStyle = rainbo(m77 % 53);//"#0000FF"; for(y89 = g71; y89 < g71 + p80[p80.length - 1]; y89++) { /!/ l76 = y89 * s83[s83.length - 2]; for(x88 = j74 + i73; x88 < j74 + i73 + p80[p80.length - 2]; x88++) { if(p80[c67++] === false) { ObjX.fillRect( s83[s83.length - 6] + (x88 * k75), s83[s83.length - 5] + (y89 * k75), k75, k75 ); } // set escape for multiple partial matches /!/ s83[x88 + l76] = true; }//x88 }//y89 //corners // ObjX.beginPath(); // ObjX.lineWidth = 4; // ObjX.strokeStyle = "#FF8000"; // ObjX.strokeRect(s83[s83.length - 6], // s83[s83.length - 5], // 8, // 8); // ObjX.strokeRect(s83[s83.length - 6], // s83[s83.length - 5] + s83[s83.length - 3], // 8, // 8); // ObjX.strokeRect(s83[s83.length - 6] + s83[s83.length - 4], // s83[s83.length - 5], // 8, // 8); // ObjX.strokeRect(s83[s83.length - 6] + s83[s83.length - 4], // s83[s83.length - 5] + s83[s83.length - 3], // 8, // 8); //rect ObjX.beginPath(); ObjX.lineWidth = 2; ObjX.strokeStyle = "#00FFFF"; ObjX.strokeRect(s83[s83.length - 6], s83[s83.length - 5], s83[s83.length - 4], s83[s83.length - 3]); ObjX.beginPath(); ObjX.lineWidth = 4; ObjX.strokeStyle = "#FF0000"; ObjX.strokeRect((s83[s83.length - 6] + (j74 * k75) - 4), (s83[s83.length - 5] + (g71 * k75) - 4), ((p80[p80.length - 2] * k75) + 8), ((p80[p80.length - 1] * k75) + 8) ); s83[s83.length - 7] = r82[z90]; s83[s83.length - 8] = vol; //0-n s83[s83.length - 2] -= p80[p80.length - 2]; ObjX.font = "bold 64px Courier New"; ObjX.lineWidth = 6; ObjX.strokeStyle = "#FF0000"; ObjX.strokeText(r82[z90] + " " + n78, s83[s83.length - 6] + 20, s83[s83.length - 5] + 52); ObjX.lineWidth = 3; ObjX.font = "64px Courier New"; ObjX.strokeStyle = "#0000FF"; ObjX.strokeText(r82[z90] + " " + n78, s83[s83.length - 6] + 20, s83[s83.length - 5] + 52); ObjX.lineWidth = 16; ObjX.font = "128px Courier New"; ObjX.strokeStyle = "#FF80FF"; ObjX.strokeText(r82[z90], Obj1.width - ((z90 + 1) * 128), Obj1.height - 200); ////////////////////////// DONE RENDERING ////////////////////////////////////////////////////// }else { //continue }//!match if(ci){break;} }//j74 if(ci){break;} }//g71 }//multiple }//p80_CRH_ if(ci){break;} }//d68 if(ci){break;} }//!v86[empty] n78++;}//whildths }//emtyChr }//u85 }//!s83 }//f70 ////////////////////// //if(m77 % 1000 === 0) //{ //console.log(m77, "of", Llib.length); //} //}//m77 m77++;}, 1); // }//n-- }	oercommons	2025-03-18T00:34:20.214467	09/19/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/108677/overview", "title": "FastObjects() photo OCR commercial", "author": "R M" }
https://oercommons.org/courseware/lesson/69287/overview	Home Bookshelves Early Childhood Education Book: Child Growth and Development (Paris, Ricardo, Rymond and Johnson) Overview This is a complete textbook available OER written by members of my professional association. I am Julie Powers. I am a professor of Early Childhood Education at University of Hawaii Maui College and am using an OER text in a course for the first time this fall	oercommons	2025-03-18T00:34:20.227651	07/02/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/69287/overview", "title": "Home Bookshelves Early Childhood Education Book: Child Growth and Development (Paris, Ricardo, Rymond and Johnson)", "author": "Julie Powers" }
https://oercommons.org/courseware/lesson/66222/overview	Sign in to see your Hubs Sign in to see your Groups Create a standalone learning module, lesson, assignment, assessment or activity Submit OER from the web for review by our librarians Please log in to save materials. Log in lecture notes for matrices Unit 1 Matrices or	oercommons	2025-03-18T00:34:20.251701	05/05/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/66222/overview", "title": "MA8251", "author": "mani kandan" }
https://oercommons.org/courseware/lesson/84099/overview	In Class Activity or Online Discussion: Bhagavad Gita Literary Quick Take Overview The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement. Literary Quick Takes I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers. In the analysis for the Gita, we ended discussing this: The fruits of your actions are not for your enjoyment. To perform actions is an integral part of human nature. While performing these actions, we must remember that we are not the enjoyers of the results. Thus, a primary determiner of what is right, or moral, is intent rather than the result. We also explore how Krishna is outlining why and how it is wrong to desire to kill an idea, and what that means: We often mistake our distaste for emotion or an idea as a dislike of the person; for example, if someone makes us feel angry, we may think to ourselves, "I want to kill this person." However, the thing we want to "kill" is that angry thought within our heads. We wish to eliminate the thought that vibrates within the person's head, not necessarily the person we may end up killing. If we are part of a party, like a political party, for example, and then someone stands against the party's ideals, the consensus may be to kill that person. However, we could not stop with one, could we? Since it is the idea, we wish to kill, it would require killing every person who had that idea. Please reflect on the moral concept Krishna outlines: that the morality of our actions is determined by intent. How do the concepts Christiane-Marie Abu Sarah highlights within the video support the idea that intent drives our actions and how they can pervert our perceptions of reality?	oercommons	2025-03-18T00:34:20.265196	07/22/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84099/overview", "title": "In Class Activity or Online Discussion: Bhagavad Gita Literary Quick Take", "author": "Robert Ladd" }
https://oercommons.org/courseware/lesson/84164/overview	In Class Activity or Online Discussion: One Thousand and One Nights Literary Quick Take Overview The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement. Literary Quick Takes I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers. In the analysis for One Thousand and One Nights, we spent quite some time discussing the problematic and orientalist treatment of the text by Western "authors" such as Galland. For this chapter, however, our main focus is on treating and representing women and a different kind of subjection. Specifically, we will discuss the dynamic between Shahrayar and Scheherazade. As noted, there is a clear double standard in Shahrayar's violent and negative response to his wife's infidelity. Shahrayar was clearly not faithful with multiple official concubines, yet he was still deeply jealous and violent in his reaction to his wife partaking in the same behavior. Here is a primer on envy: As noted in the video, envy can be sparked because the event, e.g., the Queen committing infidelity, signals a loss in social statuses, like Briseis being taken from Achilles in Chapter Two. Achilles saw Briseis as nothing more than an object that signaled his standing, however, and this is not an acceptable view of women. Shahrayar is also guilty of this objectification of women due to his jealousy; this is also reflected in many of the stories Scheherazade orates, including the story of the demon who keeps a woman in a box to control her and keep her "pure" (note this has the exact opposite effect!). Similar to the aforementioned loss of honor, in our modern societal understanding (where we do not fight each other to the death for honor and standing), it is common knowledge that a sense of insecurity creates envy or jealousy. However, love is not jealous nor possessive, as many secular and religious texts convey. Here is Chantelle Anderson, a Vanderbilt basketball player speaking to the const of insecurity: With this in mind, what does Scheherazade teach Shahrayar and her audience (us!) about the nature of love and compassion and the dangers of an insecure, jealous mind? As a bonus:	oercommons	2025-03-18T00:34:20.278559	07/23/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84164/overview", "title": "In Class Activity or Online Discussion: One Thousand and One Nights Literary Quick Take", "author": "Robert Ladd" }
https://oercommons.org/courseware/lesson/108522/overview	Education Standards Monochrome conversion, Image Optimization Overview Working with HTML canvas element with JavaScript to reduce the color noise to an acceptable range for monochrome prepared for edge detection between 27color range Color Depth and Monochrome Conversion Introduction: To maximise the number of recognizable objects within an image we must first reduce the 16,777,216 pixel combinations into a smaller number of edges. When there are only four color-ranges within each of the three light channels; image produces a color depth of 64. Monochrome is usually a reduction from the (red, green, blue) 3 is odd to (true, false) bytes. However, data is lost from each color-edge when compressed. 3^3= 27 (minus 1 for zero); when each RGB is separated into quarters there will be 64 colors; And half produces 16. 256 divides into 85 three times (a whole number) and requires the thresholds to be multiplied by 86 on the error. [ 0-84, 85-170, 171-255 ] R [ 0-84, 85-170, 171-255 ] G [ 0-84, 85-170, 171-255 ] B Represented: 26 characters + zero is the commercial "@" <-- return string data type The example is HTML JavaScript In this language, the native Image Object is passed as the argument. ======================================================== </html> <script> function Twenty_seven(r255, g255, b255) { var iaw = Math.floor(r255 / 86) + (Math.floor(g255 / 86) * 3) + (Math.floor(b255 / 86) * 9); return String.fromCharCode(iaw + 64); } function c26NULL(DELTA_omit) { var A3 = ""; var AO = []; for(var nb = 0; nb < DELTA_omit.data.length; nb += 4) { A3 += Twenty_seven( DELTA_omit.data[nb + 0], DELTA_omit.data[nb + 1], DELTA_omit.data[nb + 2] ) } //console.log(A3); AO.push(A3); AO.push(DELTA_omit.width); AO.push(DELTA_omit.height); return AO; } --------------------------------------------------------- Each "layer" is still 24bit and the Alpha-transparency always flattens to an opaque value. <html> <script> function thE26(s26_, of27) { if(typeof(s26_[0]) === "string") { var ipt = s26_[0]; var threshes = []; for(var pxR = 0; pxR < ipt.length; pxR++) { threshes.push(!(ipt.charAt(pxR) === String.fromCharCode(of27 + 64))); } }else { console.log("conversion to Ternary diverted by Operating System"); return [false,false,false,false,false,false,false,false,false,0,0]; } threshes.push(s26_[1]); threshes.push(s26_[2]); return threshes; } Depending on the focused paint field: each "chr"-color is iterated to locate the address of the potential object to a massive array (depending on the photo's size), because the shapes are edged at each point of binary comparison. Please also refer to my teachings on edge-detection to apply these shapes to a reason. https://oercommons.org/courseware/lesson/107797/overview	oercommons	2025-03-18T00:34:20.299184	09/13/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/108522/overview", "title": "Monochrome conversion, Image Optimization", "author": "R M" }
https://oercommons.org/courseware/lesson/84100/overview	In Class Activity or Online Discussion: Beowulf Literary Quick Take Overview The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement. Literary Quick Takes I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers. In the analysis for Beowulf, we discussed the link between leadership, generosity, and how the text is concerned with what it means to be a good leader: This text, at its heart, is about what it means to be a good king, which juxtaposes Agamemnon and Beowulf as leaders. It is important to note that the difference between Scyld Scefing and Grendel is not one of violence; they are both wreckers of mead halls. The difference is one of generosity. Like Scyld, Beowulf is the ring giver, but he is also generous willing to forfeit his life. Simon Sinek speaks to how generosity changes not only how we lead, but how others follow our leadership: With what Simon has spoken about in mind, please reflect on the concept of Grit, posited by Angela Duckworth. It has immediate relevance to this chapter because much of this work comes out of West Point, a military academy that is shifting to a more Beowulfesque approach to leadership (this is in juxtaposition to how the harsh, violent Drill Sergeant is often portrayed in popular films such as Full Metal Jacket). As Duckworth notes, grit is not everything. Reflect on leadership in Beowulf and his role as a good and generous king: his troupes believe in him, and he supports them generously. It is because of the power of their belief and the support of his comrades that Beowulf is able to defeat Grendel barehanded, and his mother alone after sinking for more than a day. Yet, the dragon slays him. It would be easy to chock this up to age, or hubris, but there is only one thing that is truly different in these three battles. Why does Beowulf lose to the dragon, and what does his death say about generosity, grit, and proper support?	oercommons	2025-03-18T00:34:20.312965	07/22/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84100/overview", "title": "In Class Activity or Online Discussion: Beowulf Literary Quick Take", "author": "Robert Ladd" }
https://oercommons.org/courseware/lesson/102442/overview	Democratizing Machine Learning: Creating Open Educational Materials for the Public Overview The resource described is a guide for individual research scholars in machine learning who want to create open educational materials for the public. It provides tips and recommendations on how to develop effective educational materials for machine learning, including starting with the basics, providing examples, using interactive tools, focusing on practical applications, emphasizing ethics and social responsibility, and providing additional resources. The goal of this resource is to help research scholars in machine learning to share their knowledge with a broader audience and contribute to the democratization of knowledge in the field. As an individual research scholar in machine learning, creating educational materials that can be accessed openly by people in society can have a significant impact on the dissemination of knowledge. Here are some tips on how to create effective educational material for machine learning: Start with the basics: Introduce the fundamentals of machine learning, including what it is, how it works, and the different types of algorithms and models. Provide examples: Use real-world examples and case studies to illustrate how machine learning can be applied in different industries and fields, such as healthcare, finance, and marketing. Use interactive tools: Incorporate interactive tools such as quizzes, games, and simulations to help engage your audience and reinforce their understanding of the material. Focus on practical applications: Demonstrate how machine learning can be used to solve practical problems and provide step-by-step tutorials on how to build and train models. Emphasize ethics and social responsibility: Discuss the ethical implications of machine learning and the need for responsible and ethical use of the technology. Provide additional resources: Include links to additional resources such as online courses, tutorials, and research papers to help your audience dive deeper into the topic. By creating educational materials that are accessible to the public, individual research scholars in machine learning can contribute to the democratization of knowledge and help bridge the gap between academia and society.	oercommons	2025-03-18T00:34:20.326011	04/01/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102442/overview", "title": "Democratizing Machine Learning: Creating Open Educational Materials for the Public", "author": "Aswin premnath" }
https://oercommons.org/courseware/lesson/109957/overview	Animals in Tourism 2017 Annual-Report-2006 Annual-Report-2007 Annual-Report-2008 Annual-Report-2010 Annual Report 2011 Annual Report 2012 Annual-Report-201415 Annual Report 201516 Annual Report 201617 Beyond the Green Horizon 1992 extracts Briefing autumn 2011 Briefing late 2003 Briefing spring 2003 campaigns all inclusives campaigns human rights 2009 pdf campaigns Kerala backwaters campaigns London Hotels 2018 pdf campaigns orphanages tourism campaigns trekking Cruise Tourism 2016 dilemmas Airbnb dilemmas cruises dilemmas flying dilemmas human rights violations dilemmas volunteering 2017 Human Rights Industry Briefing 2011 Human Rights & Tourism 2009 Indigenous peoples 2017 In Focus autumn 2003 In Focus autumn 2010 In Focus magazine Autumn 2010 In Focus magazine Spring 2004 In Focus spring 2007 In Focus summer 2004 In Focus summer 2010 In Focus Summer 2011 In Focus winter2005 In Focus winter 2006 In Focus winter 200910 International Volunteering 2007 International Volunteering 2007 Kerala Houseboats Code 2015 Our Holidays In Their Homes flyer 2009 Slum Tourism 2016 The Gapyear & International Volunteering Standard Tourism Concern's story.docx Water Equity in Tourism 2012 WorkingConditions in Hotels 2014 Tourism Concern Archive Overview These resources were published by the nonprofit Tourism Concern. Introduction to this British NGO's thirty years of campaigning on tourism and development This section tells the story of how a small group of people took on a giant industry and made change happen. The documents that Tourism Concern left behind are still so relevant that it seems important to ensure a new generation of critical thinkers and activitists has access to them. The words and images in the resource appeared on a website, now vanished, so what you have here is the original Word document. Tourism and Human Rights These reports exposed how tourism policy and practice was trampling on the human rights of communities all over the world. More than ten years after the first was published and five years after Tourism Concern closed, the issues raised remain disturbingly similar. The later report indicates how the tourism industry can work to improve human rights. Tourism and Water Equity Water scarcity has affected tourism destinations in hot, dry countries for decades, and it's the local people around the resorts that lose out. How to tackle this? Should swimming pools take precedence over water provision in surrounding communities? This report was the result of a partnership that came up with proposals that could still be activated, to everyone's benefit. Tourism and Cruise Ships The global cruise industry has mushroomed in the past twenty years, its impact on the sea, on its workers and on the ports used has been allowed to mushroom too with little regulation to halt the havoc caused. This report sets out the issues. Tourism and All Inclusives The rise of self contained all inclusive resorts began around the time that the cruise industry began to take off. There are similarities between them, in that for both cases, while purporting to give clients control of their budgets, a company's aim is to keep clients' discretionary spending as much 'in house' as possible. In the casee of all inclusives, this has inevitable consequences for the area where the resort or hotel is situated, limiting the possibilities for enterprising local people to at least get some benefit from providing services and souvenirs to visitors. There are good models around in the 2020s where linkages with the local community are made and encouraged, going beyond the obvious one of employment. But the experience of the host community is seldom taken into account when new developments open. The first of two reports on resorts from the 2010s uncovered working conditions in hotels that are still all too common. The second reveals clients' own very mixed reactions to the enclave model. Tourism and Communities At the heart of Tourism Concern's campaigns and research over thirty years was the unacknowledged negative impact of the tourism industry, at all levels, on the people living in the places where we travel and take our holidays: Issues such as the diminishing quality of their lives; the loss of amenities, land, liveliehoods, cultural and spiritual capital; the social costs, as opposed to the benefits that flow from developing tourism in their area. The reports here cover a small number of the campaigns we ran, laying out issues andf also proposing how to do things better.. Tourism and Volunteering What began in 1970s UK as a trickle of young people looking for a worthwhile way to pursue their dreams of travel, through charitable groups such as VSO (Voluntary Service Overseas) was by the 2000s a flood. Encouraged by tourist companies with commercial not charitable aims, people of all ages were doing voluntary work alongside their holidays, all over the world. The impact on the communities they stayed in was often not benign, if not harmful. Tourism Concern produced two reports on this phenomenom, campaigning to raise awareness of the issues and in the 2010s working with companies to improve their practices. Tourism and Animal Welfare The last report produced by Tourism Concern before its closure in 2018 characteristically highlighted an issue that was just beginning to come to the fore - the disgraceful way that animals were being treated by different sections of the global tourism industry. As ever, it delineated the problem, then set out how it could be tackled. Annual reports What was happening in the world of tourism in the early 2000s? What new issues and challenges for host communities were arising as the first decade gave way to the second? Tourism Concern's annual reports provide a fascinating answer to these questions. Campaigns and Dilemmas The annual reports in the previous Section 10 record the many different campaigns Tourism Concern conducted. On its website short reports gave browsers a taste of what the issues were. There were also answers to dilemmas faced by new forms of tourism. The selection of website articles here are all still relevant to the world of tourism in the 2020s, the issues they raise still needing local champions and global advocates to take them on. In Focus magazines This is a selection of the regular magazines, plus shorter briefings, produced by Tourism Concern for its members. The issues they outline introduce or update campaigns and education work.	oercommons	2025-03-18T00:34:20.392676	11/06/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/109957/overview", "title": "Tourism Concern Archive", "author": "Alison Stancliffe" }
https://oercommons.org/courseware/lesson/89252/overview	2020 Census redistricting data_ The country grows more diverse, especially among the young - The Washington Post Biden Voting Rights Executive Order Breaking Up Is Bad for the United States Congressional Term Limits Article Corruption in U.S. at Worst Levels in Almost a Decade, According to New Transparency International Report Could Democrats expand the Supreme Court_ Could the United States Still Lead the World if It Wanted to_ Cyberattacks Are on the Decline—But as the Russian APT29 Hack Shows, They Are Getting Worse_ Democrats to introduce legislation to expand Supreme Court - POLITICO Disinformation Is Drowning Democracy – Foreign Policy Does the First Amendment Protect Trump on Incitement to Riot_ Don’t Let Governments Use the Coronavirus Pandemic Response as an Excuse to Violate Civil Liberties Enemies Can Be Allies Against Climate Change Filibusters Damage Institutions and Protect Injustice, Today and in the 1800s Five big upcoming Supreme Court decisions _ TheHill For an Apolitical Supreme Court, Look Abroad How 9_11 Changed U.S. Foreign Policy How U.S. Foreign Policy Could Change If the Republican Party Wins the 2022 Midterm Elections Indian Americans Stir Blue Wave in Deep Red Texas Instagram, Other Social-Media Apps Need Stricter Regulation, Senators Say - WSJ Interest Groups Lobby to Get Ahead in Vaccine Line Islamic State, QAnon Rioters Come From the Same Roots of Failed Governance It's Fiscally Irresponsible for the United States Not to Spend More Money Justin Lafferty, Tennessee Lawmaker, Draws Fire for Three-Fifths Compromise Remarks - The New York Times Liberalism Isn't Dead—but It's Very Sick Matthew Duss_ U.S. Foreign Policy Undermines Human Rights Agenda New 'Don’t Ask, Don’t Tell' Account Fills Gap in LGBTQ History Books Opinion _ The ‘Founding Fathers’ Were Surprisingly Pessimistic - The New York Times President's Power Article Religious freedom_ Supreme Court blocks COVID-19 limits on NY churches Senate Parliamentarian Rules in Favor of Democratic Reconciliation Effort - WSJ The case for a weaker presidency _ TheHill The Coronavirus Is Eroding Digital Privacy Rights The Jan. 6 U.S. Capitol Insurrection Exposed the Paradox of Democracy The Realist Guide to Solving Climate Change The United States Is Not a Serious Great Power The U.S. Economy Is in Free-Fall as Unemployment Benefits End Trump Starts 2021 With $31 Million in Cash for New PAC - WSJ USAID Needs a Funding Rethink to Do Its Job U.S. Democracy Needs a Mandatory Public Service Program U.S. Policing Is Linked to U.S. Military Power Around the World US Restraint Turned Russia and China Into Bigger Threats Voting Rights for Felons Want to Win the Midterms_ Spend Less on War – Foreign Policy What Georgia’s Voting Law Really Does - The New York Times What the Public Thinks About Major Supreme Court Cases This Term - The New York Times Where Democracy Falters, So Do Reproductive Rights White Americans Will Become a Minority. What Then_ Why Bernie Sanders Socialists Will Never Understand Will Never Understand Elizabeth Warren Why Is It So Hard to Vote in America_ – Foreign Policy Why Washington Won’t Fix Student Debt Plans That Overload Families - WSJ Will the Taliban's Swift Takeover of Afghanistan Hurt Biden Politically_ With Congressional Hearing on Cryptocurrency, United States Aims to Address Regulation American Government Current Events Articles Overview This set of materials can be used to generate discussion amongst students that will connect material from the textbook to current events. These articles can be used for both in-person discussion or online discussion forums. American Government Current Events Articles This set of news articles can be used to generate discussion within a classroom setting, or posted in discussion forums to help engage students taking online courses. Each article provides substance for any one of the different chapters of the OER textbook by Openstax. Current Event Articles from Foreign Policy Magazine As part of our grant, we purchased a one-year subscription to Foreign Policy Magazine. This folder provides a series of articles that can be used in any one of the textbook chapters to facilitate discussion and reinforce learning on key terms and concepts in American Government.	oercommons	2025-03-18T00:34:20.456229	01/14/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/89252/overview", "title": "American Government Current Events Articles", "author": "Jesse Cragwall" }
https://oercommons.org/courseware/lesson/98280/overview	Cushy Fanily https://www.facebook.com/SeamlessMoments https://www.flickr.com/photos/bubblyphotographer/2811035067/ Deja_Rowe_Photography_Assignment Overview This resource has been created to explain the difference between natural and studio lighting. It is also an activity that allows students to explore taking images and designing a story that goes with their image. Looking Through the Lens Photography is more than aiming your lens at an object and clicking a button. Photography goes beyond what the eyes can see, it explores, creates, and designs the imagination in its rarest form. What comes from photography can be an image that expresses an emotion, a desire, and even a fantasy. What is Natural Light? Natural light comes from the sun, and is something that can be manipulated by objects such as mirrors, reflectors, and other outside objects, but above all, natural light is outside. There are many types of natural light shades, and it can become very challenging to shoot within these shades. The different shades of natural light are: - Cold Blue - Bright White - Warm Golden Each of these shades depends on the time of the day. For example, cold blue occurs before the sun rises and after the sun sets. Next is bright white, this type of light is when it is in the middle of the day and the sun is "shining bright". Last, is warm golden and this is during the time when the sun sets. What is Studio Light? Studio light is light(s) that comes from inside a location such as a "studio". There are many reasons people use "light modifiers" for their images. Lighting an image can create different shades, and brighten a specific target area. A typical studio has three specific lights that capture the main key point of an object. When using a cell phone, many people use their flash when in a dark area, or take the flash off when they are in a location with too much light. There are many apps that can be used to enhance the lighting used in images as well. Thus proving that light can manipulate an image in many ways. Let's See Your Skills! For this activity, please use two photos to show the difference between natural light and studio light, and please be creative. It's important that your chosen two photos tell a story, show an expression or create a thought of some sort. You can use two photos that are already on your phone, use your phone to capture the pictures, or, if you have one, use a professional camera. As for studio light, this can be any area illuminated with light other than the sun or being outside. Next, I want you to write a 200-word paragraph expressing the meaning, background, or story of the two photos you have taken.	oercommons	2025-03-18T00:34:20.479975	10/27/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/98280/overview", "title": "Deja_Rowe_Photography_Assignment", "author": "Deja Rowe" }
https://oercommons.org/courseware/lesson/89642/overview	Teaching in a digital age Overview The book examines the underlying principles that guide effective teaching in an age when all of us, and in particular the students we are teaching, are using technology. The article looks at the myths and realities of digital learning management systems in Africa Teaching in a digital age by A.W. (Tony) Bates The book examines the underlying principles that guide effective teaching in an age when all of us, and in particular the students we are teaching, are using technology. A framework for making decisions about your teaching is provided, while understanding that every subject is different, and every instructor has something unique and special to bring to their teaching. The book enables teachers and instructors to help students develop the knowledge and skills they will need in a digital age: not so much the IT skills, but the thinking and attitudes to learning that will bring them success. Get a copy of the book online at: https://openlibrary.ecampusontario.ca/catalogue/item/?id=0de76a06-9a83-4aca-8ad2-05abc7161539 Also read about the myths and realities of digital learning management systems in Africa by Tim Unwin and others.	oercommons	2025-03-18T00:34:20.497385	Athman Fadhili	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/89642/overview", "title": "Teaching in a digital age", "author": "Lecture Notes" }
https://oercommons.org/courseware/lesson/84097/overview	In Class Activity or Online Discussion: Don Quixote Literary Quick Take Overview The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement. Literary Quick Takes I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers. When it comes to Don Quixote, there is enough to discuss to last an entire semester. However, within the meta-layers of the Menippean Satire mentioned in the analysis, there lies an important question for us, and it relates to Becker’s Heroic Systems. It should be clear how the trope of a chivalric knight, especially regarding Quijano, an elderly middle-class hidalgo, fits into the concept of a Heroic System. Quijano is certainly “denying” the doom of not only himself but his country. He laments the degradation of their honor (the way the populace is treated and the suffering of the average man and woman, especially women), the denial of their history and tradition (wherein, the burning of his books reflects the Spanish inquisitions expulsion of Islamic and Jewish residents, their culture, and contribution), and, of course, the meaninglessness of his own life up until that point. But it is farcical, right? Please watch this video that outlines some key features of the text: It ends with an important note on the power of the imagination; to make this point a little clearer, please watch this video explaining a very common phenomenon: the placebo effect: This video explains what the placebo effect is, and how it can affect scientific studies, but it is also missing one key point; do you already know? The mind accomplished what the medicine could not, and thus, belief, quite literally, affects reality. This is the underpinning of the Menippean satire of Don Quixote. Cervantes himself begins his text from a place of pessimism; he lambastes the chivalric codes of the past and the outdated ideas that have stagnated the once-great Spain. However, by the time Cervantes is writing Part Two, a realization has donned on him: through the power of imagination, Quixote allowed people the space to change through his idealism because it allows them a space to believe. An innkeeper is a castle Lord, prostitutes are fair maidens, a low-born country girl can become a princess, a woman can declare her sovereignty, slaves can believe they deserve freedom, and Sanza even becomes a governor. It is important to note, though, that the Heroic System of Quixote is different from the one Becker describes; it is not through society but built-in direct opposition to it! So, which side of this Satire do you fall? What is more important, the idealism and imagination for change, or the realism of seeing things as they are?	oercommons	2025-03-18T00:34:20.511049	07/22/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/84097/overview", "title": "In Class Activity or Online Discussion: Don Quixote Literary Quick Take", "author": "Robert Ladd" }
https://oercommons.org/courseware/lesson/89855/overview	Federalism Overview A video on Tulsa, Oklahoma Massacre that provides information on the topic and additional resources to learn more about the subject. There is also a discussion question on how local, state, and federal branches interact in order to govern. Federalism: Tulsa Massacre Federalism: Tulsa Massacre The Tulsa Massacre, 100 years later, is a good moment to review how local, state, and federal government interacts with one another. Just as there is still more evidence emerging about the local, state, and possible federal government involvement in eliminating a large neighborhood of African Americans, it is vital to understand how these branches of government can come together to help "correct a wrong." As this happened a 100 years ago, the trauma and effects still exist; therefore, attempting to correct the past is a necessary component to move forward in an integrated society. Consider The Following: How has the federal government become a necessary advocate for Black, Latino, Asian, and Native American populations to ensure they receive equal rights within society?	oercommons	2025-03-18T00:34:20.524039	Dr. Elizabeth Walker	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/89855/overview", "title": "Federalism", "author": "Primary Source" }
https://oercommons.org/courseware/lesson/110058/overview	Liverwort Life Cycle Overview This illustration shows the life cycle of the liverwort, Marchantia; it includes alternation between the sporophyte and gametophyte generation as well as asexual reproduction via gemma cups. Image based on work by Dennis K. Walker and students of Humboldt State University: https://commons.wikimedia.org/wiki/File:Marchantia_Life_Cycle.pdf (Public Domain)	oercommons	2025-03-18T00:34:20.537339	Eunice Laurent	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/110058/overview", "title": "Liverwort Life Cycle", "author": "Diagram/Illustration" }
https://oercommons.org/courseware/lesson/78995/overview	Ways to Introduce/Integrate Quotations Overview A guide to quotation introduction, including introductory phrases, signal verbs, and integrating source material as part of your own sentence, with a focus on punctuation, capitalization, and citation. Ways to Introduce/Integrate Quotations OVERVIEW When you quote another writer's words, it's best to introduce or contextualize the quote or to in some way integrate his or her words into your own unique sentence. It will almost always be better to familiarize your readers with the source author and title as well as any information they need to understand the author’s point. Don't forget to include the necessary info (author's last name, if not used in the quote’s introduction, and page number) in your citation, according to MLA format. Shown below are some possible ways to introduce quotations. Introducing a quote with a complete sentence and a colon Don’t start a sentence with quotation marks. This appears as if you haven’t led in to your quote, even if you feel the previous sentence helps set it up. If you use a full sentence to lead in to a quotation, use a colon to indicate that it is setting up or introducing the following quotation. What follows must be a complete thought or sentence, even if you are only using part of the quoted sentence. Examples: - In his exploration of racism as an experience felt deeply in the body both emotionally and physically, journalist and MacArthur Fellow Te-Nehisi Coates argues that all discussion of racism hides the plain fact that it is a violent, physical phenomenon: “[A]ll our phrasing...serves to obscure that racism is a visceral experience, that it dislodges brains, blocks airways, rips muscle, extracts organs, cracks bones, breaks teeth” (10). Note that the first letter after the quotation marks should be upper case. According to MLA guidelines, if you change the case of a letter from the original or alter the form of a word or add a word or words, you must indicate this with brackets [ ]. Any words omitted from the middle of a quotation must be indicated with ellipses (…). - While it is important and useful to logically analyze the presence of racism in society in order to refute those who deny its existence and debate how best to fight it, it should never be forgotten that this is an intensely personal and traumatic topic: “You must always remember that the sociology, the history, the economics, the graphs, the charts, the regressions all land, with great violence, upon the body” (Coates 10). Note that the introductory sentence did not mention the author, so the author's last name had to be placed in the citation. It will always be worthwhile to use the author's name when you lead in to a quote, but if you just introduced the author for a previous quote and have not incorporated support from a different source since, citing an author this way may be sufficient. Introducing a quote with a phrase and a comma To quote an author or an authority, you can use an introductory phrase naming the source, followed by a comma. What follows must be a complete thought or sentence, even if you are only using part of the original sentence. Examples: - According to Coates, “[F]or us and only us--...the other side of free will and free spirits [is] an assault upon our bodies” (26). - In Coates’s words, “ . . . - In Coates’s view, “ . . . - By Coates’s reckoning, “ . . . - From Coates’s perspective, “ . . . Another way to introduce a critic's words is to use a descriptive verb phrase, using a reporting verb or a signal verb followed by a comma. What follows must be a complete thought or sentence, even if you are only using part of the original sentence. Note that these must always be in present tense. Also, avoid using “says” unless the words were originally spoken aloud, for instance, during an interview. Examples: - Coates states, “[W]hat matters is our condition, what matters is the system that makes your body breakable” (23). - Coates remarks, “ . . . - Coates writes, “ . . . - Coates notes, “ . . . - Coates comments, “ . . . - Coates observes, “ . . . - Coates concludes, “ . . . - Coates reports, “ . . . - Coates maintains, “ . . . - Coates adds, “ . . . - Coates argues, “ . . . Note that you should not write “Coates quotes” unless the author was quoting someone else, in which case, you need to identify the person being quoted, or simply introduce the quote as theirs and indicate that it’s an indirect quote in the citation. Indirect quotations When you like a quote that is used in a source and want to incorporate it in your own writing, you need to make clear that you read the quote in a certain source, that the author of your source was quoting someone else. Examples: - Coates quotes human rights activist Malcolm X, who describes the black American experience as one of perpetual captivity, stating, “If you're black, you were born in jail” (36). - Human rights activist Malcolm X describes the black American experience as one of perpetual captivity, stating, “If you're black, you were born in jail” (qtd. in Coates 36). Remember that if part of your quote contains the words of the author and another part contains the author’s quotation of someone else’s words, you must use nested single quotations to indicate what was in quotes in the original source. Example: - According to Coates, “The question is not whether Lincoln truly meant ‘government of the people’ but what our country has, throughout its history, taken the political term ‘people’ to actually mean” (6). Integrating portions of a quote into your own unique sentences You can also begin a sentence with your own words, then complete it with quoted words. Even a short phrase or a single word from a source can be integrated into your sentences. Examples: - Coates asserts that black people must struggle not only to survive in a society that makes them vulnerable and places them at a disadvantage, but that they must also determine how they “should live within a black body,” telling his son that he “must find some way to live within all of it” (12). - It is important to note when discussing racism as a visceral experience, that the word “visceral” also denotes an elemental feeling or emotion, which in the case of racism is a deep-seated fear, fear of violence and death, “the sheer terror of disembodiment” (Coates 12). Note that if your lead-in to the quotation ends in “that” or “as,” it is probably more of a quote integration. Because of this, you should not follow it with a comma, and the first letter of the quotation should be lower case. Examples: - Coates emphasizes that “[o]ur world is physical" (33). - Coates contends that “[t]his was a war for the possession of his body” (18). - Coates describes our society as a “system that makes your body breakable” (18). - Coates characterizes this fear as arising from the “vulnerability of the black teenage bodies” which causes them to feel “naked before the elements of the world” (15, 17). AVOID MIXED CONSTRUCTION (what’s your subject? Is it an object too?) When introducing a source or an author using both an introductory prepositional phrase (“In the book… by Ta-Nehisi Coates…”) followed by a reporting verb, be certain that you have a subject for the reporting verb. The objects of the preceding prepositional phrases (“…the article …Ta-Nehisi Coates) cannot be the subject if they are part of those prepositional phrases. Examples: INCORRECT: In the book “Between the World and Me” by Ta-Nehisi Coates argues that people of color experience racism viscerally, in both its physical and emotional sense. POSSIBLE CORRECTION #1: In the book “Between the World and Me” by Ta-Nehisi Coates, he argues that people of color experience racism viscerally, in both its physical and emotional sense. POSSIBLE CORRECTION #2: In the book “Between the World and Me,” Ta-Nehisi Coates argues that people of color experience racism viscerally, in both its physical and emotional sense.	oercommons	2025-03-18T00:34:20.568087	Lecture	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/78995/overview", "title": "Ways to Introduce/Integrate Quotations", "author": "Activity/Lab" }
https://oercommons.org/courseware/lesson/105709/overview	8th Grade Registration for the 2021-2022 School Year https:kidshealth.org https://www.maxipixel.net/Ed-Education-Write-Creativity-Creative-5862245 https://www.pennfoster.edu https://www.theadvocate.org HIGH SCHOOL Overview Students are encouraged to be actively involved in selecting their high school courses especially electives. Thus, it is highly recommended for them to be knowledgeable of their high school curriculum, promotion policy, and graduation requirements. Registration Reiterate the importance of developing and/or enhancing effective study habits. Encourage students to become familiar with their school's course catalog. Inform students of the administrative staff. High school maybe challenging for students even a culture shock. Friends change, instructional time is extended, and credits are earned. Since academics drive postsecondary plans and students' success, students need to be informed about the school's curriculum and be involved in their course selection. This classroom guidance activity is the first to many for students to have a successful high school career. We will focus on the registration process and course descriptions.	oercommons	2025-03-18T00:34:20.589534	06/22/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/105709/overview", "title": "HIGH SCHOOL", "author": "Millicent Jackson" }
https://oercommons.org/courseware/lesson/92891/overview	Biol2020_IndividualProject_Expectations_Spring2022 OER_PeerReviewReflection OER_PlagiarismAvoidanceStrategies Anatomy & Physiology Student Projects Overview These projects are intended to enhance the anatomy and physiology course content. I've designed these so that the group project is coimpatible with a traditional A&P 1 course, and the individual project is compatible with a traditional A&P 2 course. However, both of these projects can work with either course, albeit with minor modifications. Group Project This project is intended to further your professional development, and to simulate modern presentations you may have to give during your future career. At the end of this project, you will have: - Collaborated with peers in a structured, professional context. - Presented scientific information to peers. - Demonstrated knowledge in a meaningful way. This project requires your group to present to your peers a disease or disorder (DD) of your choice. Well, kind of…you will choose one of the AP1-related DDs from the list below, and follow the proceeding directions. The DDs are organized alphabetically for the sake of simplicity. Some involve isolated organ systems, but many actually involve multiple systems. - Achondroplasia - Amyotrophic lateral sclerosis (ALS) - Ehlers-Danlos syndrome - Hyperhidrosis - Ichthyosis - Lactic acidosis - Macular degeneration - Marfan syndrome - Multiple sclerosis - Muscular dystrophy - Osteogenesis imperfecta - Parkinson’s disease - Rickets - Spina bifida - Vitiligo Individual Project This project is intended to further your professional development, and to simulate modern presentations you may have to give during your future career. At the end of this project, you will have: - Written a structured paper on a disease or disorder - Created a meaningful case study. - Presented scientific information to peers. - Demonstrated knowledge in a meaningful way. This project requires you to write a short paper on a disease or disorder (DD) of your choice. You will also create and present a related case study that your classmates will complete during the presentation.	oercommons	2025-03-18T00:34:20.615877	05/20/2022	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/92891/overview", "title": "Anatomy & Physiology Student Projects", "author": "Michael Anderson" }
https://oercommons.org/courseware/lesson/111908/overview	WordPress Elementor Tutorial Overview This tutorial is designed for beginners eager to create their first website using WordPress and Elementor. It simplifies the process of web design, allowing you to easily understand and use the powerful features of WordPress coupled with Elementor's user-friendly drag-and-drop interface. From setting up WordPress to designing your first pages with Elementor, this guide provides step-by-step instructions to help you quickly develop the skills needed to build and launch your own website. Dive into this tutorial and embark on your web design journey with confidence. Welcome to the WordPress Elementor Tutorial Are you ready to unlock the full potential of your WordPress website? Look no further! This comprehensive tutorial is designed for beginners who want to master Elementor, one of the most popular and powerful page builders available for WordPress. Elementor's drag-and-drop interface makes it incredibly easy to design beautiful, responsive websites without needing to write a single line of code. Throughout this tutorial, we'll guide you through the essentials of using Elementor, covering everything from installation to creating stunning web pages with advanced design features. What You'll Learn: - Getting Started with Elementor - Exploring the Interface - Building Your First Page - Creating a Complete Website - Tips and Tricks Check out the attached presentation for more information. It includes both text and video content to help you learn effectively.	oercommons	2025-03-18T00:34:20.633936	Technology	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/111908/overview", "title": "WordPress Elementor Tutorial", "author": "Marketing" }
https://oercommons.org/courseware/lesson/102357/overview	Developing microbiological learning materials for schools: best practice Overview Microbiology is the study of microorganisms, which are tiny organisms that can only be seen with a microscope. Microorganisms include bacteria, viruses, fungi, and protozoa. Microorganisms are found everywhere in the environment, including in water, soil, air, and in the bodies of plants and animals. Microbiology is an important science that helps us to understand how microorganisms interact with each other and with their environment. Microbiology also helps us to understand how microorganisms can cause disease and how they can be used to produce food and medicines. Teaching microbiology can be a fun and interesting experience for students. There are many different ways to teach microbiology, and the best way to teach it will depend on the students’ age and level of education. One way to teach microbiology is to use learning materials that are specifically designed for schools. These materials can help to make the learning process more fun and interesting for students. Some of the best practices for developing microbiology learning materials for schools include: 1. Developing materials that are age-appropriate 2. Using fun and interactive activities 3. Incorporating images and videos 4. Using real-world examples 5. Including assessment questions Microbiology A resource for schools focusing on algae was developed subsequent to a review of the UK National Curriculum and teaching specifications, which revealed a significant opportunity for practical microbiology in schools. The five practical activities and the entire resource were trialled and refined so that the final publication provided valid, interesting and educational activities. After distribution to 750 schools, post-publication (summative) evaluation demonstrated a need to heavily emphasize curriculum links, and to remind teachers about resource on a regular basis. We believe that this process (from initial idea to final evaluation) provides an example of best practice in developing a practical microbiology educational resource. INTRODUCTION In the United Kingdom, independent awarding bodies use a state-mandated national curriculum (NC) to dictate what should be taught in schools. Recently, there has been an increased emphasis on assessment of learned scientific content through written examination, which some suggest is the reason for a consistent decline in practical activity (SCORE 2008; Gatsby 2011). A recent survey of UK school teachers (Redfern, Burdass and Verran 2013a) found that approximately one third of teachers did not undertake any practical microbiology in their classroom. Reasons for this were varied and included a lack of appropriate equipment, time, confidence, skills, and health and safety concerns. Most notably, teachers felt that although they enjoyed the topic of microbiology, they perceived a lack of appropriate guidance from the curriculum/teaching specifications, thus they tended to rely on the same, few microbiology activities. Appleton (2002) noted that teachers may prefer to stick to the same tried-and-tested activities year on year, causing potential barriers for external bodies attempting to deliver new practical activities to the science classroom. There is a significant amount of professional support available to teachers in the United Kingdom; for example, the Science Learning Centre network (https://www.sciencelearningcentres.org.uk/), Association for Science Education (http://www.ase.org.uk/), Scottish Science Education Research Centre (http://www.sserc.org.uk/) and learned societies. The materials produced by such organizations provide increased content knowledge for teachers, which has been emphasized as a critical factor in making ‘great science education’ (Coe et al.2014). Thus, new practical microbiology support must provide valid, clearly explained exercises with deliverable aims that satisfy the curriculum restraints of the school science landscape. No example of good practice exists for this process of development, trialling, dissemination and evaluation. This is possibly due to the fragmented nature of the production process, with education resources coming from a number of different authors and organizations, who despite their philanthropic motives, are working independently of the curriculum and one another. In January 2012, a novel resource ‘Algae: a practical resource for secondary schools’ (Redfern 2012) was published and made available freely to over 750 schools in the UK, delivering five new and exciting microbiology practical activities. This resource underwent an in-depth evaluation process before and after publication. This article describes the approach to two key actions identified by the authors as essential to this process: (1) review of current curricula and (2) summative evaluation. REVIEW OF CURRENT CURRICULA: METHOD In order to identify a practical activity that would be of relevance to teachers and students, a review of awarding body specifications (for the 2012/2013 academic year) was undertaken. The review encompassed the major qualifications that can be attained by students before leaving school (14–16 years old) and from further education (16–18 years old) in the UK. This included scrutiny of 22 biology-inclusive specifications for General Certificate of Secondary Education (GCSE), International GCSE, Business & Technology Education Council (BTEC), Standard grade, A Level & Higher or Advanced Higher qualifications, awarded by one of six different awarding bodies. A topic was identified as microbiology if it is directly related to microorganisms (e.g. growing microorganisms on agar), microorganisms were a part of the process/phenomenon being described (e.g. the nitrogen cycle) or if microorganisms could be used to demonstrate a concept (e.g. photosynthesis). Due to the nature and language of the different specifications, microbiology topics were grouped together into general topic areas, despite slight variations in the particulars of each specification. REVIEW OF CURRENT CURRICULA: RESULTS The specifications for awards gained by 14–16 years old (n = 15) provided 43 mentions, themes or concepts that could be attributed to, or supported by microbiology, with an average of 16.67 per specification. A total of 17 references to microbiology appeared in the majority (over 50%) of teaching specifications whilst 26 references were made in less than 50% of the teaching specifications (Table 1). Only one specification (BTEC Applied Science) made reference to the emerging field of science communication with reference to microbiology (more specifically, the MMR vaccination debate). REVIEW OF CURRENT CURRICULA: DISCUSSION The spectrum of microbiology covered (14–16) was wide, with mention of all types of microorganisms (bacteria, fungi, viruses and algae). The most common themes include the phenomenon of photosynthesis, the role of microorganisms in cycling of carbon and nitrogen and the use of lichen as an environmental indicator of pollution. Important scientific foundations such as how scientists classify organisms, using the five kingdom or three-domain system, and genetic or morphological features (including the use of identification keys) were also noted. Physiological phenomena such as sensing and responding to external stimuli, respiration, photosynthesis and structure of fungal, yeast and algal cells as well as non-cellular viruses were featured. Just over half of the specifications (n = 8) noted bacterial cell structure and method of reproduction, an interesting addition given the somewhat questionable simplification on understanding cells as plant or animal (with no mention for microbial cells) in the overarching NC (Department for Education 2013). Indeed, there has been a recent movement in science education research to consider the implications of student and teacher misinformation and misconceptions (Dikmenli 2009; Taber 2012). For example, regarding ‘the cell’ (e.g. Flores, Tova and Gallegos 2003; Mannion et al.2003; Dikmenli 2009); however, the lack of clarity in how ‘cells’ are taught may provide a route for even more misconception in the classroom. Many of the topics mentioned in the 16–18 specifications are similar to those found in the 14–16 specifications, e.g. the carbon/nitrogen cycle, photosynthesis and the concept of energy transfer through the environment. Additional topics included: use of microorganisms in protein manufacture, actions of pathogens within the host cell, antibiotic modes of action and using molecular biology techniques such as PCR to perform a medical diagnosis—suggesting that the higher level qualification enables exploration of more scientifically demanding/sophisticated topics with clear links to the world around us. Thankfully, the 16–18 specifications state that students should understand the structure of both prokaryotic and eukaryotic cells. The majority of the topics, themes and concepts in the teaching specifications related to microorganisms are not currently delivered as practical activities by teachers (Redfern, Burdass and Verran 2013a). Instead, teachers reported that they are undertaking ‘classic’ microbiology, with the use of agar, aseptic technique, sampling the environment and the effect of hand washing comprising almost 59% of practical microbiology activities. There is clear scope for the development of microbiological practical activity to be more challenging and stimulating. The inclusion of a microbiology science communication topic (the MMR debate), although only in one specification, is encouraging. Public engagement is increasingly recognized within academia and enables successful combination of real-world topic of public importance with the concept of the nature of science; both are now considered essential pillars in school science education (Fensham 2009; Taber 2012). The key findings that emerged from this initial survey were that there is a rich source of microbiology in the UK NC. Those developing new practical microbiology activity resources for school science education should consult the relevant curriculum and identify, for teachers, how their activity fits the specifications. SUMMATIVE EVALUATION: METHOD After consulting the specifications used within the UK, algae were selected as microorganisms that could be used to illustrate aspects of the topics taught in the classroom in a new practical activity resource. Subsequently, a search of existing resources that use algae was undertaken to ensure that the practical activities to be developed were novel. Following extensive development, trialling and formative evaluation (evaluation that takes place during the developmental process, i.e. before the project is completed), a summative evaluation (evaluation that takes place after the project is completed) was carried out using a survey. The timeframe for data collection was 18 months after publication, because the resource would have been available for a complete academic year following dissemination (free of charge) to over 750 school members of the Society for General Microbiology. Using a mixed methods approach consisting of qualitative and quantitative questions with a number of response modes, a semi-structured questionnaire was developed. A pilot questionnaire was assessed by professional educators (n = 4) prior to distribution. All responses were analysed blindly, and analysis followed the British Educational Research Association ethical guidelines for educational research (BERA 2011). The survey was distributed to teachers in the UK who had received the resource as a member of the Society for General Microbiology (n = 750). In addition, a further 250 copies of the resource were distributed to non-members of the SGM. However, since contact details were not available, it was not possible to include them in the study. Participants were given one month to complete the survey, with no incentive or compensation provided. The survey was designed to assess the following: Are teachers using the resource in the classroom? Which aspects of the resource, if any, are being used? How teachers are using the resource to support teaching in the classroom? SUMMATIVE EVALUATION: RESULTS AND DISCUSSION Forty-seven responses were eligible for analysis following removal of five respondents who had not received the resource. The majority (55.3%) of respondents received the resource between 7 and 12 months prior to the evaluation, whilst 14.9% had received it recently (0–6 months) and 8.5% reported having it for over a year. When asked if respondents had used the resource for teaching, 48.9% said yes, whilst 46.8% said no, with 4.2% providing no answer. Of those who responded no, 21 respondents left an explanation. The most frequently cited reason for not using the resource was time (n = 7). One respondent stated ‘I haven't even taken it out of its wrapping. Lack of time and inclination’. A similar number (n = 6) highlighted curricula/teaching specification constraint as a limitation to using the resource. Finance was the only other reason provided, but with a low number of concerned respondents (n = 2). Some respondents (n = 6) did not provide any specific reason as to why they had not used the resource: one commented ‘to be honest I had forgotten about it’. When the data are considered alongside the length of time since the respondent had received the resource, it suggests that those who responded as having the resource for 6–12 months, may be more likely than not to use it. Lack of uptake may be due to the time required to investigate the value of a new resource and integrate it into the scheme of work (potentially the best time to do this may have been the next academic year thus causing a delay in usage of the resource). This finding suggests that publishers, aiming to have their resource implemented into schemes of work, should consider the time of year in which new resources are made available. E-mail reminders and online links may be beneficial in this context. CONCLUSION Despite a consensus to the contrary, within the teaching community, microbiology is well represented in the various teaching specifications in the UK. This study has identified numerous steps for an approach of best practice (Fig. 3) for developing microbiology (as well as other sciences) practical activities for schools. Since completion of this resource, the authors have continued to use the same approach in developing additional educational material, and believe that all steps are very important in providing an objective approach to developing a successful educational resource It would be of benefit to the teaching community if organizations such as learned societies who wish to promote their subjects in schools agreed a strategy for educational resources in order to maximize value and impact as well as enhancing the relationship between learned societies (and therefore professional scientists) and teachers (Redfern, Burdass and Verran. 2013a). Hopefully, an increase in the number of well-tested educational support materials for teachers with regards to microbiology will result in more microbiologists and researchers in years to come. Thus, professional microbiologists should be prepared to play a greater role in the promotion and delivery of their subject in schools to ensure its health for the future. The authors would like to thank all participants of the evaluative stages of the work described.	oercommons	2025-03-18T00:34:20.662506	Full Course	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102357/overview", "title": "Developing microbiological learning materials for schools: best practice", "author": "Diagram/Illustration" }
https://oercommons.org/courseware/lesson/118848/overview	Just Template with Directions Pitfalls of Torching - Over welds Overview Template for creating an Experiential Module on Manufacturing/Welding Example title: Beginners Guide to the Pitfalls of Torching - Over Welds Module Template with Welding Example The Extern Template with "insider" directions for completing an Experiential Learning Module and an example for Manufacturing/Joining/Welding Beginners Guide to the Pitfalls of Torching - Over Welds Module that introduces MIG welding techniques to address the issue of over welding. This module was created to guide new instructors on experiential leaning and module techniques. Just Template and Directions Instructor content	oercommons	2025-03-18T00:34:20.681970	Lesson	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/118848/overview", "title": "Pitfalls of Torching - Over welds", "author": "Assessment" }
https://oercommons.org/courseware/lesson/125322/overview	World Religions: Hinduism Overview Upon completion of this Unit, you should be able to do the following: 1) Explain key concepts in analysis of religions including hermeneutics and syncretism. 2) Interpret key religious texts including portions of the Rig Veda and the Mahabharata. 3) Distinguish among principal gods in Hindu texts. 4) Explain key concepts including karma and samsara. 5) Identify elements of syncretism with Hinduism. Indian Sub-Continent Origins Audio Reading: e8b4d484-a863-465f-b706-a9604ac7b4d8.mp3 There are 4 traditions called Dharmic Religions: Hinduism, Buddhism, Jainism and Sikhism. Most people have heard of Hinduism and Buddhism. They may not, however, have heard of Jainism and Sikhism, which are also religions common to India and the subcontinent. “Dharma is a concept of social order and duty that sustains the whole universe. A person’s placement in a caste (varna) and birth group (jati) is one element of dharma.”[1] Although in many ways these traditions are similar in beliefs, there are surprising differences between them as well, and the source of each of the other three traditions is Hinduism. Because Buddhism has spread so widely to East Asia, it is covered in the section of this book that deals with traditions from that part of the world, even though it is one of the four Dharmic traditions and did, in fact, originate in the Indian sub-continent. But the Jains and Sikhs are still primarily located in the Indian subcontinent, and it is these, along with Hinduism, that we will consider in this unit. Hinduism developed out of the beliefs brought to India by Aryan invaders from Central Asia in the 2nd millennium BCE. The earliest written formulation of these beliefs and religious practices is found in the Vedas, collections of hymns and rules for the performance of rituals. Hinduism later absorbed many different philosophies and practices. The three main deities, called the Trimurti, are Brahma, Shiva and Vishnu. They represent the universal concepts of creation, destruction and preservation. Hindus believe in dharma, a universal law that defines the right conduct in life, and karma, the power of actions to determine the form of one’s future rebirth. The ultimate goal in life is to break the endless cycle of incarnations (saṃsāra) and achieve mokṣa, union with the Divine. Both Jainism and Sikhism were born out of Hinduism and include in their ideas a rejection of the Vedas, the main scriptures of the Hindu faith. Jainism was founded by Vardhamana Jnatiputra or Nataputta Mahavira (599-527 BC), called Jina (Spiritual Conqueror). The Jains believe that there is no real god, and that everything has always been and always will be, without a beginning and an end. No one really knows how many Jains there are in the world, since many Jains identify themselves as Hindu. For Sikhs, Guru Nanak founded Sikhism in the late 15th century CE based on universal love. Sikhism has ten gurus, or people who created the texts and beliefs of the religion. Their beliefs are codified in the writings called the final guru, the Guru Granth Sahib. Sikhism is based in the Punjab region of India. Sikhs believe in one God, also sometimes referred to as Allah, just as the divine is referred to in Islam. Hinduism Overview Audio Reading: 8fff4709-d62a-4f8c-b187-68814d6ec1cf.mp3 Basic Demographics on Hinduism - Hinduism is the 3rd largest religion in the world in terms of adherents with 1.08 billion people or 15% of the global population practicing some form of Hinduism. - Nearly 80% of Hindus live in India, yet India has been a secular state since 1976. Although there are more Hindus in India, Nepal is the country with the highest population of Hindus at around 89% of the Nepalese population. - Here in America Hinduism is the 4th largest religious group in the nation with around 2.4 million Hindus practicing in the states. This constitutes just around 1% of the total U.S. population. What is Hinduism? - The term "Hinduism" is one that is primarily used by Westerners out of convenience; in reality "Hinduism" is a wide-ranging family of diverse practices, beliefs, and rituals. - The commonality between different forms of "Hinduisms" is simply the fact that they occur on the Indian subcontinent. The Persians were the first to describe the peoples in this area as "Hindu" from the name of the Indus River; the term came to denote a non-Muslim member of the Indian population. - Many Hindus actually prefer to describe their religion as the Sanatana Dharma, or the "Eternal Teaching" -- this suggests a common, connecting theme across the various forms that Hinduism can take. Eastern Religions and Western Categories - Religious Studies as it occurs today is a relatively modern field, but people have studied religion for a very, very long time. They mostly studied their own religions though, so comparative religious studies is quite new. - Furthermore, here in America we're used to the separation of Church and State. While this has clear benefits from a democratic standpoint, it creates a conceptually divided worldview that non-Western peoples traditionally didn't content with. - As we've seen, there's been a long history of Western-bias with Abrahamic faiths like Judaism, Christianity, and to a lesser extent Islam becoming the archetypical models of religion. Eastern faiths like Hinduism, Buddhism, Daoism, and Confucianism don't really translate to these models, so there's a tendency for this kind of Western-bias to prevent us from understanding these Eastern traditions. - In summary, the diversity that is inherent in Hindu thought and practice clashes with the Western tendency to summarize and reduce concepts... Hinduism rebels against categorization. Hinduism Audio Reading:127c357c-2bf7-4014-a29a-54da8f8e23eb.mp3 Hinduism is also known as ‘sanatana dharma‘ to Hindus. Considered the oldest organized religion in the world, Hinduism originated in the Indus River Valley about 4,000 years ago in what is now northwest India and Pakistan. With about 1.2 billion followers, about 15% of the world’s population, Hinduism is the third largest of the world’s religions. Hindus believe in a divine power that can manifest as different entities or avatars. Hindu practice has many seemingly independent centers of tradition, often with distinctive sacred texts, deities, myths, rituals, saintly figures, codes of conduct, festivals and so on, but on closer scrutiny these different centers can be seen to link up with each other. This also explains how, while other faiths and civilizations have come and gone, Hinduism continues to thrive and put out new shoots and roots, even when old ones have died away. Diversity is accepted in Hindu traditions, as it considers each path one of value. Three main incarnations of the divine, called the Trimurti—Brahma, Vishnu, and Shiva—are sometimes compared to the manifestations of the divine in the Christian Trinity. They are considered the deities of creation, preservation and destruction. They are a part of Brahman–the One Ultimate Reality. Although there are many deities beyond these three, and many images of those deities, in various shrines, temples and holy places, there are no images of Brahman. That One Ultimate Reality is unknowable and beyond human comprehension. But all deities are a part of that One Ultimate Reality. And human goals are to become united with that One–to achieve moksha. History Hinduism developed within a group of tribes who referred to themselves as Aryans. There are disputes concerning where they originated; some scholarship says that they were already present in western India, others that they came into the area from Central Asia, or even that they came from further west, including eastern Europe. It is known that the Aryans began to assert their presence in the northwest of the Indian subcontinent at about the beginning of the second millennium BCE, interacting with the Indus civilization that already existed there. The Indus civilization is so named because it seems to have spread out from settlements on the Indus river. They called the Indus river ‘Sindhu’, and it is from this term that ‘Hindu’ comes. Hinduism thus signifies the Aryans’ culture and religious traditions as they developed over time, incorporating elements from other cultures that the Aryans encountered along the way. The religious tradition that emerged early on (almost before anything that looks like modern Hinduism) had a variety of gods and was centered on priests performing sacrifices using fire and sacred chants. This is much like traditions in many places around the continent. The Indus river valley people create sacred texts, collectively called the Vedas, that contain hymns and rituals from ancient India and are mostly written in Sanskrit. The term Vedas means ‘knowledge’. The Vedas were believed to have arisen from the infallible ‘hearing’ (śruti), by ancient seers, of the sacred deposit of words whose recitation and contemplation bring stability and wellbeing to both the natural and human worlds. The Vedas are believed to have developed over a span of 2000 years. The hymns in particular were largely directed at transcendent powers, most of whom were called devas and devīs (misleadingly translated as ‘gods’ and ‘goddesses’). These powers, individually or in groups, were thought to exercise control over the world through cosmic forces. In this early phase of the Veda, there is reference to a One (ekam) that undergirds all being. During later periods of this earliest pre-Hindu tradition, questioning and changes in spiritual philosophy produced the Upanishads, an addition to the Vedas. These are also written in Sanskrit and contain some of the central philosophical concepts and ideas of the Hinduism we now know. These works record insights into external and internal spiritual reality (Brahman and Atman) that can be directly experienced. Hindus generally believe in a set of principles called dharma, which refer to one’s duty in the world that corresponds with “right” actions. Hindus also believe in karma, or the notion that spiritual ramifications of one’s actions are balanced cyclically in this life or a future life (reincarnation). Introduction to Hinduism: Discovering Sacred Texts in the British Library, PBS Learning This excellent introduction to Hinduism is found at the really impressive British Library website exploring Sacred Texts of the world. Start here: https://www.youtube.com/watch?v=1AxUtOLG9gc&ab_channel=BritishLibrary After this, watch this simple introduction to Hindu Concepts from PBS Learning Media: Audio Reading:687dd0c2-827c-44a3-a589-2e75ecdcda65.mp3 Two other dharma-texts of a different order, the Mahabharata (‘The Great Tale of the Bharatas’) and the Ramayana (‘The Coming of Rama) came later. Both compositions were originally compiled in Sanskrit verse over several hundreds of years, beginning from about the middle of the first millennium BCE. The Mahabharata narrates the story of the rivalry between two groups of cousin warriors, the Pandavas and the Kauravas. With the aid of hundreds of supporting characters and intriguing sub-plots, the story contains teaching about the nature of dharma. Embedded in book 6 of the Mahabharata is perhaps the most famous devotional sacred text of Hinduism, the 700 verse Bhagavad Gita, or ‘Song of (Krishna as) God’. The Gita, as it is often called, mainly contains teachings by Krishna, as Supreme Being, to his friend and disciple Arjuna about how to attain union with him in his divine state. The Ramayana recounts the adventures of the exiled king Rama and his various companions as they make their way to the island-kingdom of Lanka – off the southern tip of India – to rescue Rama’s wife Sita, who had been abducted by Ravana, the ten-headed ogre-king of Lanka. For a great many Hindus, the Ramayana, and devotion to the avatar (the chief representation of the Supreme Being in human form) Rama offers an accessible path to salvation. The mysticism and abstractness of materials in the Vedas is balanced with practical religious elements that form the everyday spirituality of most Hindus. This practical approach described in the Gita states that one should first work to meet one’s social obligations in life. Then the Gita recommends four paths, or yogas, that take into account one’s caste and personality type. The paths of knowledge (jnana), action (karma), devotion (bhakti), or meditation (raja) may be practiced. Other yogas combine elements of these four. Yoga is considered a form of spiritual work in Hinduism. Key Terms: The term Brahman stands for a monistic outlook that sees one invisible and subtle essence or source of all reality—human, divine, and cosmic. All is ultimately one. (Monism is the metaphysical and theological view that all is one, that there are no fundamental divisions between anything, and that a unified set of laws underlie all of nature. The universe, at the deepest level of analysis, is then one thing or composed of one fundamental kind of stuff.) Brahman is the term used to describe “god” as this Oneness of the universe. Supreme Universal Spirit might serve as a better or more broad way to express this concept of Brahman. (do not confuse Brahma from the Trimurti with Brahman. They are completely different!) Atman is the innermost spirit within all human beings, which ultimately is identical with Brahman. Sometimes we talk about the soul in about the same way. It refers to the real self beyond ego or false self. Maya reflects a sense of magic and mystery and accounts for the perception of different forms or multiplicity in the world. Maya hides or veils the underlying unity of all things. For more than two thousand years in Indian society there has been an organization of the society in the form of the Caste system, although this phrase is a 19th century term. Organization of Indian society had its own structure that, with the coming of the British in the colonial era, took on a much more rigid approach. Varna is a term that literally means type, order, or class and it groups people into classes, a structure that was first used in Vedic times. The four classes were the Brahmins (priestly people), the Kshatriyas (rulers, administrators and warriors), the Vaishyas (artisans, merchants, tradesmen and farmers), and Shudras (laboring classes). It had an additional category, identifying people beyond societal status, considered the untouchables. Jati is a term used in India to refer to a person’s lineage and kinship group. Indians identify themselves by the community they belong to and these jati are sub-groups of specific castes. The status of the jati one is born into is still a factor in marriage selection, even though the strict isolation of caste in India is softening. Each jati, or subgroup of a caste level, has a set of jobs common to their position, but this can change with effort on the part of the community. Jatis are much less obvious in their caste associations than was previously thought. The Indian Constitution outlawed the concept of Untouchability in 1947 upon receiving Indian independence from Britain, and the group called Dalit (once considered the untouchables) are working even now towards their civil rights. The Indian Government has established special quotas in schools and Parliament to aid the lowest jatis. Caste discrimination is not permitted in gaining employment and access to educational and other opportunities. But this does not mean that caste is illegal or has faded away. Caste groups as political pressure groups work very well in a democratic system. Caste may provide psychological support that people seem to need. Economists and political scientists are finding that caste is no real barrier to economic development or political democracy.[1] Key Takeaway: The Dalit movement in the 20th century Take some time to read this interview about the Dalits in modern India. Michael Collins is a 2020 Kluge Fellow from the University of Gottingen. Collins is working on a project titled “From Boycotts to Ballots: Democracy and Social Minorities in Modern India.” Boris Granovskiy, who recently detailed at the Kluge Center, interviewed Collins on his work. The 20th Century Transformation of the Dalit Movement in India Audio Reading: cf93dd18-af1f-41ca-abf2-d903f0e0ef56.mp3 Karma and rebirth/reincarnation are important aspects of the Hindu worldview. Justice is built into the very fabric of reality. The moral consequences of one’s actions will be experienced in this life or the next. So a belief in reincarnation is central to Hindu belief. One moves up or down the caste ladder depending on the caliber of one’s life just lived. Moksha represents the idea of final liberation or freedom from all limitations, especially the round of death and rebirth. Moksha entails going beyond egoism and identifying with the unity and sacredness that everything shares. After enough lifetimes, and learning achieved, one eventually leaves the cycle of rebirth and is liberated. There are 4 goals in life: According to Hinduism, the meaning (purpose) of life is four-fold: to achieve Dharma, Artha, Kama, and Moksha. The first, dharma, means to act morally and ethically throughout one’s life. However, dharma also has a secondary aspect; since Hindus believe that they are born in debt to the gods and people, dharma calls for Hindus to remember these debts. These include debts to the Gods for various blessings, debts to parents and teachers, debts to guests, debts to other human beings, and debts to all other living beings. The second meaning of life according to Hinduism is Artha, which refers to the pursuit of wealth and prosperity in one’s life. Importantly, one must stay within the bounds of dharma while pursuing this wealth and prosperity (i.e. one must not step outside moral and ethical grounds in order to do so). So it is considered good to prosper, but not at the expense of others. The third purpose of a Hindu’s life is to seek Kama. In simple terms, Kama can be defined as obtaining enjoyment from life. Again, this is not to be done at the expense of others, but it is considered a good thing in life to have joy and pleasure. The fourth and final meaning of life according to Hinduism is Moksha, enlightenment. By far the most difficult meaning of life to achieve, Moksha may take an individual just one lifetime to accomplish (rarely) or it may take several. However, it is considered the most important meaning of life and offers such rewards as liberation from reincarnation, self-realization, enlightenment, or unity with God. Often, in human lives, people focus on this goal as elders. As a young person, the other goals may be more important, or more demanding. There are stages to human living, too, according to Hinduism: Ashrama, also spelled asrama, Sanskrit āśrama, in Hinduism, is any of the four stages of life through which a Hindu ideally will pass. The stages are those of: (1) the student (Brahamacari), marked by chastity, devotion, and obedience to one’s teacher, (2) the householder (Grihastha), requiring marriage, the begetting of children, sustaining one’s family and helping support priests and holy men, and fulfillment of duties toward gods and ancestors, (3) the forest dweller (Vanaprastha), beginning after the birth of grandchildren and consisting of withdrawal from concern with material things, pursuit of solitude, and ascetic and yogic practices, and (4) the homeless renouncer (Sannyasi), involving renouncing all one’s possessions to wander from place to place begging for food, concerned only with union with brahman (the Absolute). Traditionally, moksha (liberation from rebirth) should be pursued only during the last two stages of a person’s life. Exercise: Flashcards One fun way to get a handle on difficult or new terms is through flashcards. Try these, just for fun The Divine The multiple gods and goddesses of Hinduism are a distinctive feature of the religion. However, Professor Julius Lipner[2] explains that Hinduism cannot be considered polytheistic and discusses the way in which Hindu culture and sacred texts conceptualize the deities, as well as their role in devotional faith. (the full texts, of which this material is only excerpts, can be found at The Hindu Sacred Image and Iconography, Hindu Deities ) “One of the most striking features of Hinduism is the seemingly endless array of images of gods and goddesses, most with animal associates, that inhabit the colorful temples, and wayside shrines and homes of its adherents. Because of this, Hinduism has been called an idolatrous and polytheistic religion. Hinduism can be likened to an enormous banyan tree extending itself through many centers of belief and practice which can be seen to link up with each other in various ways, like a great network that is one, yet many. The concepts of deity, worship and pilgrimage in Hinduism are a prime example of this ‘polycentric’ phenomenon. Deities are a key feature of Hindu sacred texts. The Vedic texts describe many so-called gods and goddesses (devas and devīs) who personify various cosmic powers through fire, wind, sun, dawn, darkness, earth and so on. There is no firm evidence that these Vedic deities were worshipped by images; rather, they were summoned through the sacrificial ritual (yajña), with the deity Agni (fire) generally acting as intermediary, to bestow various boons to their supplicants on earth in exchange for homage and the ritual offering. Some Vedic texts speak of a One that seemed to undergird the plurality of these devas and devīs as their support and origin. In time, in the Upanishads, this One (Brahman) was envisaged as either the transcendent, supra-personal source of all change and differentiation in our world which would eventually dissolve back into the One, or as the supreme, personal Lord who was the mainstay and goal of all finite being. In both conceptions, we have the basis for subsequent notions of a transcendent reality that is accessible to humans by meditation and/or prayer and worship. Exercise: watch this short video about Hindu deities: https://www.youtube.com/watch?v=V_NJAJGCKD8 Avatars It is in the Bhagavad Gita that we first find sustained textual evidence of developed thinking about devotional faith in a personal God, named Krishna. In this text, Krishna teaches his friend and disciple, Arjuna, about his divine nature and relationship with the world, and how the devoted soul can find liberation (moksha) from the sorrows and limitations of life through loving communion with him. Here, also for the first time in Hinduism, we encounter the doctrine of the avatāra (also known as avatar), which teaches that the Supreme Being descends periodically into the world in embodied form for, according to the Gita, ‘re-establishing dharma, protecting the virtuous and destroying the wicked.’ The doctrine of multiple avatars with their specific objectives was to develop subsequently over the centuries in various sacred texts. Places of worship The first archaeological evidence we have of standing temple construction and its implication of image-worship of the deity occurs in about the 3rd century BCE – of a Vishnu temple (in eastern Rajasthan) and of a Shiva temple not too far away. Presumably, since these were constructions of mud, timber, brick, stone etc., the process of temple-building had begun appreciably earlier, though we cannot say exactly where or when. We can also assume from textual and archaeological evidence that image-worship in Hinduism was present by about the 6th to the 5th century BCE. Companions Most deities have an animal associate (vāhana) which helps identify the deity and express the latter’s specific powers; this was achieved too by an artistic device that attributed multiple body-parts, such as hands and heads, adorned by weapons and other objects, to the image. There are many stories, especially in the Purāṇas, which describe the origin and role of the vāhana and the weapons and other attributes associated with the image. Worship Other than by forms of temple worship, which include both personal prayer and various rituals conducted by priests, the deity may be worshipped at home too, in a format called puja. In its simplest form, puja usually consists of making an offering of flowers or fruit to an image of a god at a home shrine. It can also happen by way of meditation (dhyāna). Dhyāna can include highly specialized kinds of visualization of the deity invoked, in which the deity is often envisaged as communicating with the worshipper. Another form of worshipping the deity in Hinduism is through pilgrimage (yātrā). Pilgrimage is a way of creating a sacred landscape, of indicating that the whole world, including the pilgrim, belongs to the deity and is under its rulership. Through every pilgrimage, Hindus encounter a tīrtha, a sacred ford or crossing-point between heaven and earth, by which they may come to terms with this world of sorrows and arrive at the threshold of liberation. Over time, a great many tīrthas have developed across the Hindu sacred landscape.” Bhakti Dr Rishi Handa[3] looks at bhakti in Hinduism, exploring its common modes, the Hindu concept of enlightenment and how to achieve it, the importance of the Divine Name and the veneration of forms of the deities. “If any aspect of religiosity can be said to pervade India, it is bhakti. In a land whose culture is filled with a plethora of devīs (goddesses) and devas (gods), it is the foremost way by which Hindus express and experience the Transcendent. Bhakti is best rendered in English as ‘loving devotion’, but it is much more than that. While common objects of bhakti can be one’s guru (teacher) and one’s country, this bhāva (emotion or feeling) is typically directed to īśvara (the divine, ‘God’). Bhakti can be articulated through gratitude, honoring of the deities, engaging in formal ritual service to a deity, hymn-singing, reading devotional scriptures, and constantly remembering the name of one’s deity. This list is certainly not exhaustive. The nine modes of bhakti According to a number of Hindu texts, there are nine ways of expressing bhakti. These differ depending on the text. According to two of the key Purāṇas of Hinduism, the Bhāgavata Purāṇa centred on Krishna (also spelt Kṛṣṇa), and the Viṣṇu Purāṇa (focused on Vishnu, also spelt Viṣṇu), the nine ways are: - Shravana: Hearing the Lord’s virtues, glories and stories. - Kīrtana: Singing the Lord’s glories in the form of hymns. - Smarana: Remembering the Lord at all times. - Pādasevana: Serving the Lord’s Feet. - Archanā: Honouring the Lord. - Vandanā: Prayer and prostration unto the Lord. - Dāsya bhakti: Being a servant of the Lord. - Sākhya bhakti: Friendship with the Lord. - Ātma-nivedana: Self-surrender to the Lord. A little summary… You might be feeling a little overwhelmed by all of this detail and history. Try a summary from Crash Course: https://www.youtube.com/watch?v=0tpVZrsvK-k Hinduism History Audio Reading:e305df8d-73b0-4c04-b58b-8256b6b47b47.mp3 Early India (2,600 B.C.E. - 1,900 B.C.E.) The Harrapan Civilization & the Roots of the Indus River Valley - Around 4 millennia ago one of the most advanced human civilizations was the Harrapan Civilization which thrived in the Indus River Valley from 2,600 B.C.E. until 1,900 B.C.E. - Based on archaeological findings from sites like Harappa and Mohenjo Daro we see advanced architectural design, an emphasis on cleanliness via bathing, primitive sewage systems, and early animalistic religious worship. This isn't Hinduism, but this may have contributed to early influences on what would later become Hinduism. - Early theories suggested that there was a land invasion from the north that wiped out the Harappan civilization, but more recent scholarship suggests that drought, soil exhaustion, extensive farming, flooding, and the changing course of the Indus River may have contributed to their relocation. The Early Vedic Period (1,900 B.C.E. - 1,000 B.C.E.) The Rishi and the Vedas - Thousands of years ago, forest-wandering sages known as rishi received divine revelatoins they memorized, recited, and passed down through the generations. - At some point between 1,500 B.C.E. and 500 B.C.E. these were written down in Sanskrit. They are known as the Vedas and by tradition they are as old as time. - There were four collections of Vedas, with the Rg Veda being the oldest and most authoritative. The other three are the Yajur Veda, the Sama Veda, and the Atharva Veda. - The Vedas are mostly instructive ritual texts that emphasized the importance of ritual bathing, offerings, sacrifices, and hymns of praise to the gods or devas. The Brahmins and the Caste System - The need for constant cleanliness and ritual purity demanded a group of ritual experts or priests who were responsible for maintaining the integrity of the entire cosmic order through the conduct of proper yajna fire rituals. - The rest of the human social order followed from this central need to have ritual experts at the top. The Rg Veda describes this social order in the analogy of the "Hymn of Man" where the cosmic person Purusha was divided into the various social castes. “A Thousand heads hath Purusha, a thousand eyes, a thousand feet. On every side pervading earth he fills a space ten fingers wide. This Purusha is all that yet hath been and all that is to be; The Lord of immortality which waxes greater still by food… When Gods prepared the sacrifice with Purusha as their offering, its oil was spring, the holy gift was autumn; summer was the wood. The balmed as victim on the grass Purusha born in earliest time. With him the Deities and all Sadhyas and rishi sacrificed. From that great general sacrifice the dripping fat was gathered up. He formed the creatures of the air, and animals both wild and tame. From that great general sacrifice Ricas and Sama-hymns were born: Therefrom were spells and charms produced; the Yajus had its birth from it. From it were horses born, and from it all cattle with two rows of teeth: From it were generated cattle, from it the goats and sheep were born. When they divided Purusha how many portions did they make? What do they call his mouth, his arms? What do they call his thighs and feet? What do they call his thighs and feet? The Brahmin was his mouth, of both his arms was the Ksatriya made. His thighs became the Vaisya, from his feet the Sudra was produced. The Moon was gendered from his mind, and from his eye the Sun had birth; Indra and Agni from his mouth were born, and Vayu from his breath. Forth from his navel came mid-air; the sky was fashioned from his head; Earth from his feet, and from his ear the regions. Thus formed the worlds.” - "The Hymn of Man" - The Head: Brahmins (Priests and Ritual Experts) - The Arms: Kshatriyas (Rulers and Warriors) - The Legs: Vaishyas (Merchants, Farmers, and Artisans) - The Feet: Shudras (Laborers) Read Burke "Vedic Creation Hymn" Audio Reading: 1bb5c1d0-3e54-40bc-b7ff-cc38752ef331.mp3 - Society was built around and relied on the Brahmin's ritual activities. Caste was something that you were born into, and so the entire system relied on an inherent and all-pervasive sense of duty or dharma which meant recognizing the importance of the role you play in society. - From this worldview perspective, the Brahmin were performing rituals to ensure rains came when they needed to, wars could be avoided, harvests were abundant -- there was the sense that there was a correlation between the proper ritual activity of the Brahmins and abundance in the world: this is the concept of sympathetic resonance and the macrocosm-microcosm connection that we'll explore in other places throughout this course. - The Vedas mention only around 33 gods or devas. Some of the most important of these Vedic devas include: - Indra, the King of the Devas - Agni, the Deva of Fire - Soma, the Deva of the Moon - Ushas, the Devi of the Dawn (Devi is a female Deva) The Late Vedic Period (1,000 B.C.E. - 600 B.C.E.) The Upanishads and the Development of Vedanta Philosophy - Eventually a later collection of texts emerged from the forest-wandering rishi. Where the Vedas included ritual instructions and guidelines, these later Upanishads instead contained mystical insights that revealed the knowledge of metaphysical principles, human salvation, and the truth of ultimate reality itself. - Both the Vedas and the Upanishads belong to a category of literature known as shruti or "heard/revealed" texts as they were given to and recited by the rishi sages. These are believed to be of divine origin from the devas themselves and are contrasted with later texts which were remembered by humans and passed down. - It is in the Upanishads where the system of birth, life, death, and rebirth known to the Hindus as Samsara is introduced. The karma accumulated from one's actions and their consequences propels the jiva-atman ("individual soul") though the endless cycle of Samsara. - In light of the endless cycle of Samsara, the Upanishads do introduce a soteriological goal (a goal relating to salvation) called moksha which promises "to blow out" the cycle of birth-life-death-rebirth. - Those rituals that the Brahmin priests focus on are of secondary importance in the Upanishads: moksha is the supreme goal. The means of attaining the supreme goal is to snuff out the barrier preventing you from realizing the goal -- the Upanishads suggest that the barrier is nothing more than our own ignorance in thinking that we are separate from everything around us. - According to the Upanishads, all things are of the one universal cosmic principle or "world soul" Brahman (note the difference between this and Brahmin priests!). Brahman is the impersonal cosmic principle through which all things are -- including you and me! That "individual soul" or jiva-atman has a piece of the eternal Brahman called the atman; the supreme goal of moksha is achieved when we personally overcome the ignorance that we are separate from Brahman, other people, the world we live in, etc. - Feeling overwhelmed or confused? That's okay -- many students find these concepts very difficult to understand. What is essential here is the recognition that moksha or liberation involves a transformation of self-identity, perspective, and consciousness. Easier said than done -- how does one achieve this goal? - The orthodox answer is to follow your dharma and only your dharma, even if it means doing something you don't like for the rest of your life. If you do well then you may be born into a higher caste in your next life... eventually you might become a male Brahmin and then have the opportunity to finally attain moksha! As you can imagine, this can take a long, long time. Read Burke "The Isha Upanishad" Audio Reading:f0a52a64-d8b8-4a84-b63c-50a0f33d383c.mp3 and Burke "The Chandogya Upanishad" Audio Reading:926d52c8-ee8d-4639-a20d-c9e14ac9c83e.mp3 before proceeding. The Pre-Classical Period (600 B.C.E. - 200 C.E.) Orthodoxy and Heterodoxy: The Shramana Movement - During this time new urban settlements began to develop along the Ganges River plain. - As the Upanishads introduced the importance of personally realizing Brahman there were a number of renouncers and asetics called shramana who retreated from worldly life to attain spiritual salvation from Samsara. - Many of these shramana rejected the ritual emphasis of the Vedas, the need for animal sacrifices, the authority of Brahmin priests, and the greater implications of the Hindu caste system itself. Instead of following one's dharma to potentially achieve a favorable rebirth in a higher caste, emphasis was placed on developing methods to achieve moksha in the present lifetime -- this was often through ascetic practices like fasting, meditation, sleeping on beds of nails, and other unusual forms of intentional suffering and self-denial. - During this time orthodox Vedic rituals saw a decrease as more and more individuals were drawn to heterodox practices and philosophies such as Ajivikism (Determinism), Lokayata (Materialism), and new religious movements such as Jainism and Buddhism that we'll explore after Hinduism. The Classical Period (200 C.E. - 600 C.E.) The Indian Epics - As more people became drawn to the heterodox ideologies and religions such as Jainism and Buddhism, a new genre of Hindu literature became composed. - The Vedas and the Upanishads were "heard/revealed" shruti texts; this later genre of texts are not divinely revealed but are remembered and passed down by humans. These are "remembered" smriti texts. - Though the older shutri texts were held as more authoritative, the smriti texts humanize divine figures and are thereby more beloved by Hindu adherents. By making the devas relatable, the smriti texts established the groundwork for what most people would consider modern popular Hindu belief and practice. - There are two great Indian Epics that began as oral recitations before later being written down: the Ramayana and the Mahabharata. The Ramayana - The earliest intact copy of the Ramayana comes from a palm-leaf manuscript dating back to the 11th century C.E. but the story is likely much older. - This story follows the exiled prince Rama whose wife Sita is stolen by the Demon-King of Lanka: Ravana. - With the help of Rama's brother Vibhishana and the monkey god Hanuman they are able to slay Ravana and save Sita who remained devoted to Rama despite accusations and speculations. At the center of the story we find idealized, yet still relatable characters that act as beacons of moral excellence: Rama is the ideal hero/husband/king; Sita is the ideal wife/nurturer/queen; and Hanuman the ideal friend/servant/guardian. The Mahabharata - The Mahabharata is the world's longest poem with nearly 1.8 million words! The age of it is uncertain, but scholars believe the events it describes may have occurred around 3,000 B.C.E. - The text describes an ancient Kurukshetra War that took place between two halves of a family. Torn in this conflict is the prince Arjuna whose caste position as a kshatriya warrior demands that he follow his dharma and fight his own family. - One of the most beloved and famous parts of the Mahabharata is the 18th chapter known as the Bhagavad Gita. This chapter is a dialogue between the troubled prince Arjuna and his charioteer who he is seeking advice from. Luckily for Arjuna his charioteer is none other than Krishna, the divine avatar of the Supreme Deva Vishnu. - Krishna consoles Arjuna by reminding him that his dharma supersedes his reservations and that it is only his limited perceptions that cause him to suffer. Though Krishna emphasizes that it is better to do one's own dharma poorly than to do another person's dharma well, Krisha at the same time articulates that every person has a unique path to finding the divine -- we'll examine this in more detail when we discuss yoga. *Read Burke "Bhagavad Gita" Audio Reading: 8e7340d9-02a2-41cf-9b0d-b75474216dcd.mp3 The Trimurti and the Puranas - The Ramayana and Mahabharata popularized Krishna and Rama, both of which are avatars of Vishnu. The worship of Vishnu the Enforcer becomes widespread during the Classical Period, as does the worship of two other devas: Brahma the Creator, and Vishnu the Destroyer. - These three deities are collectively known as the trimurti or "three forms" as they are described to be the three primary manifestations and activities of Brahman the "world soul": create-maintain-transform. - Each of these three devas has six great collections of poetic myths known as Puranas which again likely began as an older oral tradition, but was first written some time during the 16th century C.E. - The ideal means to achieve the goal of moksha shifted once again in reaction to the popularization of these devas -- people came to genuinely connect with their ishta deva or "preferred deity" so much so that loving devotion towards the deity in all of its forms lead to what is known as bhakti "devotion" -- we'll talk more about bhakti in the Medieval Period. Tantras and the Mother Goddess - Smriti texts like the Ramayana, the Mahabharata, and the Puranas made the gods and their families human-like, which made devotion and love towards them easy. As later Puranas developed, some placed an emphasis on feminine aspects of the divine. - These texts became known as Tantra texts; Tantra is quite a loaded and mis-understood word in the West with many associating it with taboo and sexual content. While these can be interpretations of Tantra, this is largely a western bias. - Tantra texts emphasize the cultivation of raw feminine power called Shakti. This is the power that all male devas use... but Tantra texts state that this power actually comes from their female wives and consorts: the gods are powerless without their goddesses! - Moreover, these texts state that all of the many female devis are in actuality different forms of the one, eternal Divine Mother known principally as Devi. - Eventually the worship of the Mother Goddess Devi came to replace the latent powers of Brahma the Creator -- today Brahma only has around four temples recognized in all of India. It turns out there isn't much for the creator to do once the creation has been made... The Medieval Period (600 C.E. - 1,526 C.E.) The Bhakti Movement - Over the next several centuries there is a gradual de-emphasis on caste, the need for the traditional Brahmin yajna fire rituals, and the need to practice those ascetic practices the shramanas so enjoyed. - The popularity of the smriti texts captured the hearts of the population such that by the 15th century Hinduism would be primarily characterized by bhakti devotionalism. - Emotional, passionate displays of devotion to a representation of the divine is the hallmark of bhakti yoga. This can include dressing statue murti icons in clothes and flowers, moving them out of the sun and into shade, cleaning the statue or bathing in milk, yogurt, or clarified butter (ghee), offering foodstuff to the deity and then consuming the ritually blessed food (prasada), staring into the eyes of the murti icon with the hopes of attaining the blessing of darshan where they become one with their ishta deva, etc. The point is that there is a personal relationship with the divine which takes a preferred form -- for this reason many unfamiliar with Hinduism believe them to worship idols when really a subtle difference is taking place. - Bhaktas don't believe that their ishta deva is trapped inside of the murti, they treat the murti as an icon that transmits the presence of the divine to them. In this way they are able to fulfill the basic human need for relationship by treating the murti as a symbolic representative for their divine ideal. This is similar to the Orthodox Christian practice of Icons which we'll talk about later in the semester. The Mughal Dynasty (1,526 C.E. - 1,858 C.E.) - In 1,526 C.E. the Central Asian conqueror and descendent of Genghis Khan by the name of Babur (ruled from 1,526 C.E. - 1,530 C.E.) descended from the north into India and began a conquest that would bring iconoclastic Muslim influences into India. - Over several centuries both Hinduism and Buddhism experienced a sharp decline as both of these religions were seen as idolatrous by the Islamic invaders. We will discuss in-more detail why Islam has such a strict stance on depicting divine images when we finish the semester with Islam. Suffice to say for now that having religious images of any form in the Islamic faith is an extreme mortal sin called shirk or "idolatry". - Although there were some peaceful Mughal rulers, there were many intolerant Mughal rulers that violently persecuted Hindus who would face frequent raids, forced conversion, and constant threats of execution. The historical religious tension and animosity between these two groups of people continues largely to this day. - Amidst these conflicts between Hindus and Muslims, a new religion emerged in the 15th century called Sikhism which sought to create a balance between these two traditions. Sikhism is today the fifth largest world religion after Buddhism in terms of adherents. Though it is not included as a part of this course's curriculum, there will be a bonus module on Sikhism available at the same time we discuss Islam that you are free to explore further if you want to learn more about this fascinating religious tradition. Colonization and the Modern Era (1,858 C.E. - Today) - As the Mughal Empire experienced a gradual decline the East India Company was steadily gaining influence and power on the Indian subcontinent through trade and later military power when power was transferred to the British Crown in 1,858 C.E. - Although the caste system was not strictly enforced, the British colonizers used the caste system as described in the legal Manusmriti or "Code of Manu" text to enforce social structure with the Brahmin priests again at the top of the caste system. - The Manusmriti describes those four castes we discussed earlier as taken from the Rg Veda's "Hymn of Man," but there is an additional fifth caste, a caste-less caste of untouchables called Dalits who were fit for dealing with animal skins and hides, human excrement, the cremation of the dead, and other societal functions that need done but place one in a state of ritual impurity. Some believe that this consistent state of ritual contamination prevents a Dalit from attaining the good karma they need to achieve a favorable rebirth, thus many believe to be a Dalit is to be eternally condemned to being without a caste. - There were a number of rising Indian nationalist movements that resisted the foreign exploitation of the British colonists with the most successful being Mohandas Ghandi (1,869 C.E. - 1,948 C.E.), who is also known as "Mahatma" or "Great-Soul". - Through hunger strikes, making his own clothing, grassroots activism, leading a salt march in resistance of increased British taxation, and advocating a strict policy of non-violence or ahimsa Ghandi was able to unite the Indian population to peacefully resist British rule. - Ghandi also called for an abolishment of caste discrimination and advocated for fair treatment of untouchable Dalits, calling them Harijan meaning "child of/beloved of God." Today the term has evolved into something of a slur against Dalits. - Although himself a polarizing Hindu nationalist figure, Ghandi was sympathetic to Muslim communities and protested to end religious violence before his own assassination in 1,948 C.E. at the hands of a Hindu fundamentalist who disagreed with Ghandi's views. - In 1,947 C.E. India officially declared independence from India as a secular state. Recently there has been increased political force from extreme Hindu nationalist groups that want to see India declared as a Hindu nation rather than a secular state. - Although the discrimination of Dalits was officially illegal as of 1,950 C.E., it is not uncommon to hear cases of discrimination, persecution, and violence to the Dalits. Many face discrimination in terms of access to housing, jobs, education, and some public services. Hinduism Beliefs and Practices Audio Reading: 6f85da25-6f4b-4374-98aa-3b69f089d5d8.mp3 Core Beliefs The Sacred - The Sanatana Dharma tradition includes a diverse family of practices collectively identified as "Hinduism" for the sake of convenience. - Most popular depictions of Hinduism convey the sense that there are millions of gods and goddesses worshipped around the Indian subcontinent -- and this is not inaccurate! The Vedas count the number of devas and devis at 330 million! On the surface Hinduism appears to be a polytheistic religion. - And yet, despite the appearance of many, many deities, the Upanishads describe these as all being of the same fundamental "world soul" Brahman which we ourselves possess a piece of as the atman or "soul/self." The belief described here is what we would call monism which is the belief that all things are interconnected pieces of a unitary whole. - Even with millions of gods and philosophical doctrines describing their true identity as the Brahman, the "Bhakti Movement" saw many practitioners adopt preferential deities (ishta-deva). Inspired by the widespread stories of the deities in the Hindu Epics (The Ramayana and The Mahabharata) and the Puranas. The exclusive worship of one form of the divine above all others is also found within the Hindu tradition and is called monolatry. In some cases the devotion to a particular murti (deity form) becomes so strong that some bhakta devotees assert that their ishta-deva is the Supreme Lord ishvara in its most pure form, thereby speaking of a sort of monotheism by summarizing all of the other deities are various forms of their true, beloved God. - (As a refresher, because I know these terms are difficult: Brahman - the "world soul" that is present in all things; brahmin - the caste of Hindu priests and ritual experts; Brahma - the creator god that was once a popular member of the trimurti along with Shiva and Vishnu before his worship declined due to the passive role of the creator god after the creation.) - To summarize this section... Hinduism is complicated and nuanced. Can you see why Western scholars of religion struggle so much with this tradition? It simply eludes traditional categories. For this reason, to properly study the Sanatana Dharma tradition requires that we proceed with an open mind and recognize the many, many doors that Hindus have available to them when it comes to religious belief and practice. (This is also what makes Hinduism a great starting point for our class!) The Afterlife - As we saw earlier, The Upanishads introduced the concept of samsara, which maintains that all beings exist in a cycle of birth-life-death-rebirth that is propelled by the karma (both actions and consequences of those actions) accumulated throughout existence. - Hindu afterlife beliefs are complex and require proper traditional funerary rites in order to prepare the atman for rebirth. This includes ritually bathing the body before it is cremated in an open-air crematorium. The ashes are then typically scattered in the sea or a river, the Ganges River being the most auspicious. - Many believe that if the proper rituals are performed the deceased exists for one year as a preta, or a hungry ghost. During this time the deceased will be ravenous but unable to satiate their hungers and thirsts; the deceased's family can help alleviate these pains by making food offerings in remembrance to their deceased loved ones. After the year or so the preta is reborn depending on their karma. If proper funerary precautions are not taken, it is believed that the deceased has the capacity to return as a vengeful spirit. The Problems - Whenever I teach this class there is inevitably one or two students who think the cycle of samsara is really a cool idea. Samsara is not "cool," it is the problem for human beings according to the Hindu worldview. - The Germans have an interesting word called weltschmerz "world-weariness," which is apt to really capture the psychology of the Hindu worldview. Imagine a sense of deja vu but with the perception that you might have already lived countless lives before. Life is grand, but it is also a lot of work. If you get the sense that this might go on and on, the need to resolve you karma to get out of samsara can become quite pressing... especially if you were born in a lower caste or if circumstances gave you a particularly difficult life. - We've also seen the problem of ignorance in both The Upanishads and in the Bhagavad Gita as a central obstacle to realizing the fundamental reality of interbeing; the truth that atman is Brahman and all things are one. - There is also another element we haven't discussed before: Kali Yuga. The Kali Yuga is the last of four ages, each shorter than the one that came before. In the first age truth was abundant and people could easily come to the realization of moksha, liberation from Samsara. As time went on truth become more obscure and conflict more abundant. The Hindus believe that we currently live in this final age of decline, the Kali Yuga. Eventually our world will come to an end, this time by fire. But fret not. This cycle has happened before and following the destruction a new golden age will dawn and the world will be made anew. The Solutions - To re-cap the problems: cyclical existence in Samsara is a problem. The ignorance that keeps us separate from our true selves and one another is a problem. The persistent decline of ethics and truth in our current age that will inevitably culminate in a cataclysm of fire before the world is reborn in the ashes like a beautiful phoenix -- that... that is a problem! I mean is there really anything we can do about any of that? - Here's what the Hindus say to do: focus on four goals... one of which is a supreme goal, but nevertheless aim for these four: - Artha - Worldly Success: Wealth, Career, Status - Kama - Pleasure: Love, Creativity, Sexual Fulfilment - Dharma - Duty: Caste Role, Relational Obligations, Sense of Destiny/Purpose - Moksha - Liberation: Freedom from ignorance, the Cessation of Samsara, the Realization of Union with Brahman - Artha, Kama, and Dharma are all important goals to make life more comfortable, to find your pleasures, and to assume your responsibilities, but moksha is really the supreme goal. So how do we get there? It's finally time we talk about yoga. The Three Paths of Yoga - Despite our assumptions that yoga is downward facing dogs and cat-cow poses, if we look to the origins of yoga we can overcome the Western cultural appropriation of yoga. Yoga literally means "yoke" or "union" -- it is really the same word as the Latin root religare, the root of the word "religion". Yoga isn't really exercises (I mean it can be): it is an umbrella-term used to describe groups of practices with the intention to attain that supreme goal of moksha! - From the Bhagavad Gita of The Mahabharata, Krishna explains to Prince Arjuna that there are thee paths that lead to the supreme goal of moksha. In this way the eternal Sanatana Dharma is accessible to a diverse array of people. - There is no right or wrong path here: they are all of equal esteem and value. What matters most is that each person determine which of these paths is most suitable for them. Oftentimes many Hindus will incorporate practices from all three of these paths into their lives, yet other times some may be specifically drawn to one. - At the core of it all, these three paths of Karma Yoga, Jnana Yoga, and Bhakti Yoga infer and lead to the development of one another -- such is the beauty of the three paths (trimarga). Karma Yoga - The Path of Selfless Action - The practice of Karma Yoga has its early roots in The Vedas, as it is principally concerned with dharma. - Proper conduct in accordance with one's caste and stage of life (more on that later) is a proper display of dharma. For Brahmin priests this means conducting yajna fire rituals and sacrifices, for a Kshatriya like Prince Arjuna it meant fighting despite the fact that his opponents were his own family members. - As the name implies, karma is also important. The word karma is popularized in the West as "what goes around comes around," but karma literally means "action" as well as the consequences that follow from the action. Karma is absolute, meaning that there is no action without consequences. - Essential to the Path of Karma Yoga is the selfless detachment from the rewards and consequences of one's actions. This is authentic action, to act without regard for the outcome but from a spontaneous place of being. Free from regard of consequences, the Karma Yogi offers the merit (karma) gained from righteous activity to the divine. - Moksha comes through detachment of self-interest and generous compassionate service to others. Jnana Yoga - The Path of Self-Knowledge - Karma Yoga is concerned with external action. In contrast, Jnana Yoga (pronounced "Ya-na") instead emphasizes the wisdom gained through deep introspection. - The Jnana Yogi delves deep into study of The Upanishads and uses various forms of meditation in order to transcend the limited perspective of an independent being separate from the world around them. This path cultivates the values of calmness, restraint, concentration, and faith. - Jnana Yoga is often regarded as the slowest of these three paths, as it takes a dedicated and gradual inquiry into one's own self-nature to overcome ignorance and discover the realization of Brahman the "world soul" as the one true Self. - Moksha comes though mindfully peeling away layers ignorance to come to the realization of one's true being. Bhakti Yoga - The Path of Loving Devotion - If Karma Yoga concerns the body and actions and Jnana Yoga concerns the mind and thoughts, by analogy we could say that Bhakti Yoga concerns the heart and feelings. - As we've discussed earlier, Bhakti Yoga rose as a reaction to the widespread popularity of the Hindu Epics and the Puranas. People began to have personal feelings toward the devas depicted in the texts; so much so that there was a longing for relationship with their preferred form of the divine, their ishta-deva. - Bhakti Yoga is loving devotion to the favored form of the divine for the bhakta ("Bhakti Yogi"). Often times families will have a preferred deity as well as a spiritual teacher or guru which for many is interpreted as an incarnation of the divine (well, we all are, but the guru is especially profound for their realization and teachings). - Bhaktas will often go to temples and conduct worship or puja at home before an icon (murti) of their ishta-deva. Often burned offerings of flowers, grains, incense, seeds, clarified butter (ghee) and more are presented along with food that is placed on the altar before being consumed by the bhaktas - this is called prasada and the food is spiritually charged by the deity. - Unlike the yajna fire sacrifices which may only be performed by brahmin priests, any caste is able to participate in daily puja. Forms of puja worship vary, but it is only done after ritually bathing and typically hymns invoking the name of the ishta-deva are offered. - Through the development of a personal relationship with the divine which is symbolized though the murti icon, the bhakta is emotionally committed to their ishta-deva and care for the religious icon as though it were a honored guest. It is common to dress, bathe, and consider the comfort of the icon as though it were alive. The peak experience of Bhakti Yoga is called darsan (prounced "dar-shan") and it happens at a magical moment when the bhakta gazes into the eyes of the icon, but the eyes looking back at the devotee are not those of a dead statue -- looking back at the bhakta are the divine eyes of their ishta-deva. - Moksha comes through the profound committed love between the bhakta and their ishta-deva, a love that may culminate in the religious experience of darsan where the bhakta becomes one with the beloved. The Three Great Forms of Bhaktism - Although each of the three yoga paths we described earlier are equally effective and respectable, it is Bhakti Yoga which has the largest following. By the 15th century C.E. the "bhakti movement" reached its peak, resulting in the emergence of the three largest forms of Bhaktism on the Indian Subcontinent. - As stated earlier, the worship of the Deva of Creation, Brahma declined as people were less-motivated to worship the creator after the creation had happened. Brahma has cycles of active creation that are mixed with long cycles of inactive rest (unmanifested potential). Worship of the Mother Goddess Devi replaced Brahma worship thanks to the popularity of Tantra texts. - It is the worship of Devi the Mother Goddess along with Vishnu the Enforcer and Shiva the Destroyer that constitute the three major forms of Bhaktism (contemporary "Hinduism") in India. Vaishnavism - Worship of Vishnu as Ishvara - Each of these different bhakti denominations share a lot of commonalities in terms of their practices, although there are minute differences (and always exceptions to these rules). Remember that each of these believe that their preferred deity (ishta-deva) is really the supreme form (ishvara) of the formless "world soul" Brahman from which all forms emerge. I know this is heavy material, but bear with it! - Vaishnavism is the largest denomination of Bhaktism in the world. It is most-common in Northern India where Vaishanavites almost exclusively worship Vishnu the Enforcer or one of the Ten Avatars (Dashavatara) mentioned in the Epics and the Vishnu Puranas including Rama (with the bow) and Krishna (with the flute). - Vishnu is the great Hindu hero god, he is the patron of selfless karma yogis, the guardian of men, the great preserver of time, space, and cosmic order (also known as dharma!). He's also blue typically... so there's that. His consort-wife is Lakshmi, the devi of wealth and good fortune; in the south of India Lakshmi (a.k.a. "Sri") is so widely worshipped alongside Vishnu that this particular form of Vaishnavism is known as Sri-Vaishnavism. - Was it mentioned that Brahma the creator god rests on a lotus that extends from Vishnu's navel? No? Must have slipped my mind. The decline of Brahma-worship might have also been attributed to this idea that Vishnu is the supreme lord (ishvara) and Brahma is only the creator of the material world -- Brahma is in-fact a creation of Vishnu... actually everything is a creation of Vishnu's cosmic dream. Woah. - For Vaishavism a self-surrender to Vishnu as the supreme sustainer of all creation is the primary means to moksha. This is obviously an expression of bhakti yoga, but it involves all three of the yoga paths, especially karma yoga for its selfless service. Shaivism - Worship of Shiva as Ishvara - Shaivism is the second-largest denomination of Bhaktism in the world. It is most-commonly found in the Southern parts of India and centers around the worship of Shiva (also sometimes called Rudra) as ishvara. Shiva may have some obscure avatars, but some Shaivites believe that Shiva cannot have any avatars as Shiva is himself beyond birth and death itself - most of the stories about Shiva from the Shiva Puranas have Shiva as... Shiva. Shiva is most frequently depicted as either purple or charcoal black. - Vaishavites will make the claim that Vishnu is the supreme source and sustainer of all creation, but they maintain a central distinction between Vishnu and all other beings. Contrary to this, many Shaivites embrace a more monist viewpoint where Shiva is not the source of all creation, but is the very foundation of reality itself. According to this viewpoint reality is not some cosmic dream of the supreme god Vishnu; instead Shiva is before, within, and beyond all things as the supreme divine principle beyond the illusion of ignorance. - Shiva occupies the world of contradictions: he is a god of creation and a god of destruction; he is both a celibate yogi and a householder with a family; he is a masculine god and yet his power comes from feminine energy. For the Shaivites Shiva is beyond comprehension; Shaivites must go beyond concepts to find Shiva. - Shiva puja worship is usually directed to a lingam. A lingam is a symbolic representation of Shiva's formless nature as well as the creative and destructive power embodied within Shiva. A lingam is the tall, phallic structure which is typically situated in its feminine counterpart dish, the yoni. Together these symbols represent the cosmic interplay as well as the co-relationship of Shiva and his consort Shakti. - Shiva has a number of consorts including Sati, Parvati, Durga, and Kali among others. Although it might seem that Shiva is quite the "player," in reality these are different masks worn by the Divine Mother Goddess Devi. The term Shakti refers to the divine power of Devi in an impersonalized form as energy -- it is this energy that is the key to Shiva's power. - Naturally, this is a form of bhakti yoga, but there is a strong element of jnana yoga present here as well. Shaivites regularly participate in a number of ascetic practices that generate heat in the body known as tapas. Through these self-mortifying practices heat is built up which is believed to burn away negative karma. Some practices included sleeping on beds of nails, standing on one's head for long periods of time, starvation, participating in societal taboos as the extremist Aghori Shaivite sect. Modern yoga practice also works on the buildup of tapas in the body. - For Shaivism moksha comes with the discovery of Shiva in all things, including within oneself. This demands a radical abandonment of concepts, conventions, and judgements to discover the supreme reality beyond all forms that is Shiva. Shaktism - Worship of Devi as Ishvara - Shaktism centers on the worship of the ubiquitous Mother Goddess Devi though her impersonal energetic aspect of Shakti, which assumes many forms as all of the female devi counterparts to male devas. This includes Sati, Parvati, Durga, and Kali as mentioned previously, but also Vishnu's consort Lakshmi and Brahma's consort Sarasvati among many, many others! The Tantra texts popularized Shakti worship, though the mythology itself was inspired by the Shiva Puranas. - Shakta practices include elements of karma yoga, jnana yoga, and bhakti yoga. Like Shaivites, Shaktas believe that the cosmos is the physical body of the Mother Goddess, thus the supreme goal is to experience union with the Divine Mother, who for them is Brahman. Loving devotion and surrender to the Divine mother is a common feature of Mother Goddess worship in India Shaktism also has the practice of kundalini yoga. - It is believed that within each person there exist latent feminine Shakti energy coiled like a serpent at the base of the spine. Through an array of practices, it is believed one can awaken this energy and cause it to climb the spinal column (shushumna) through the major energy centers (chakras). It is at the brow (ajna chakra) where this Shakti energy unites with her consort Shiva, resulting in a great awakening. By uniting masculine and feminine energies one overcomes the inherent problem of dualism and realizes that the Mother Goddess is all things. Chakras have become popularized in the West, but they started from Tantra texts with ideas that predate even these! - As we'll see next, pilgrimage is a major element of Bhakta practice regardless of denomination. For the Shaktas there are many, many pilgrimage sites called "Seats of Shakti" (Shakta Peethas). There are a few different legends as to how these came about, but the most popular one concerns the grief of the god Shiva for his wife Sati who self-immolated herself in defiance of her father. Heartbroken, Shiva carried Sati's lifeless body around the Indian subcontinent. He cut her body into numerous pieces, and buried it all over India so people may pay homage to the Divine Mother. - For Shaktism moksha comes from a number of practices to realize the unity of all creation as children of the Mother Goddess who assumes various forms through the impersonal Shakti energy latent within each of us -- we can awaken this energy within ourselves and realize this truth firsthand. The Hindu Life Traditional Life Stages - We spoke about how caste plays a role in determining what your dharma is, but what about your age. For males of higher castes, life takes on four distinct stages or phases -- each stage of life has different goals and obligations. The ages displayed next to the life stage is the typical age, but not the rule. Also as modern life goes on, fewer and fewer contemporary people in India are following this path. - Brahmacharya - Student: Age 8, 11, or 12 until the age of 24 - Grihastha - Householder: Ages 24 - 48 - Vanaprastha - Retiree: Ages 48 - 72 - Sannyasa - Renouncer: Around age 72 or even sooner Major Pilgrimage Sites - Pilgrimage is seen as one of the ways that devotees might generate meritorious karma to aid in a favorable rebirth; thus pilgrimage sites of places where great gurus or saints lived and died are popular destinations among those mentioned in myths and legends. Some pilgrims make extra dedications to get even more good merit by making prostrations on their way to the pilgrimage site; these dedicated pilgrims are called dandauti. Below are just some of the many sacred sites for Hindus. The Char Dham - These are four sacred sites established in the 8th century CE -- it is believed that all Hindus who are able to should make the trek to the sacred sites of Puri in the East, Rameswaram in the South, Dwaraka in the West, and Badrinath in the North at least once in their life if they're able. - Three of the four are devoted to Vishnu, but the Rameswaram in the city of Varanasi is devoted to Shiva. Varanasi - The Rameswaram is one of the major stops, but the entire city of Varanasi along the Ganges River is dedicated to Shiva and is a major pilgrimage site for Shaivites. - The Vishwanath Temple is one of twelve sacred shrines like the Rameswaram called jyotirlingas where Shiva was said to appear as a massive blazing column of light according to the Shiva Puranas. The Vishwanath Temple alone regularly receives 1.5 million Shaivite pilgrims annually who come to bathe and pray. Shakti Peethas - There are 51, 52, 64, or 108 "Seats of Shakti" depending on who you're asking. These are those locations where Shiva buried Sati's body; although there are different legends too. Sati was the daughter of King Daksha and had married Shiva against her father’s wishes. Daksha held a great yajna and invited all of the devas but Shiva. Enraged by her father’s actions Sati self-immolated in anger, praying for rebirth to a father who could respect Shiva. - There is a ritual from Tantra texts that describe having an adherent write different letters on different parts of their body that correlate to the Sati's body. This nyasa ritual is just another way the Shakta seeks to embody the divine principle of Shakti energy. Major Holidays and Festivals The Kumbh Mela - The Kumbh Mela is a major pilgrimage festival that takes place every three years at one of four different sites that cycles every twelve years. The Kumbh Mela comes from a story in The Puranas which describes the devas fighting over a pitcher (kumbh) filled with immortality; in the fight the pitcher was shattered and the nectar was scattered. - The location of the four riverside cities where the Kumbh Mela is held corresponds to where the drops landed: Nashik, Ujjain, Haridwar, and Allahabad -- it is the Kumbh Mela every twelve years in Allahabad that is the largest and most auspicious as the "Great" or Maha Kumbh Mela which attracted over 100 million people in 2013. The next Maha Kumbh Mela is in January of 2025, so you better get your plane tickets now! - The Kumbh Melas are opportunities to meet others, learn from gurus, practice charity, bathe in sacred waters to wash away negative karma for oneself and for one's ancestors alike, and to generally receive entertainment over the course of several days. Diwali - Diwali is the Festival of Lights. it celebrates the Hindu New Year, lasting five days with the main celebrations taking place on the third day. The next Diwali is this October 31st, 2024 but it changes each year as the Hindu calendar is a lunar calendar. - Diwali celebrates the return of the exiled Prince Rama as described in the Epic Ramayana. Some others say that Diwali celebrates another of Vishnu's avatars, Krishna, who killed the demon Narakasura. The cause for celebration may vary, but the central theme is the same: the acknowledgement of light and knowledge triumphing over darkness and ignorance. - Festivities for Diwali include cleaning the home and the lighting of lamps which guide Lakshmi the devi of wealth and Ganesha the deva of success to bring prosperity for the new year. The Indian subcontinent positively glows from outer space on this magical night. Maha Shivaratri - "Maha" means great in Sanskrit, as you might have guessed from the Maha Kumbh Mela. Maha Shivarati is the "Night of Great Vigil" which is most important among Shaivites. The next Maha Shivarati will be on March 8th, 2025. - Prayers are directed towards Shiva on this night to honor him before the new moon. The roots of this celebration comes from The Puranas and by some accounts celebrates the divine dance of Shiva in his form as Nataraja, the "Cosmic Dancer" who creates, preserves, and destroys with his dance. - Dancing, meditation, chanting, and offerings of divine food (prasada) are all included to commemorate Shiva's triumph against darkness. Holi - Holi is the Festival of Colors, marking the beginning of spring. The festival is dedicated to love, meeting new people, forgiving others, social unity, and joyous celebration. The next Holi celebration is March 14th, 2025. - Dyes and colorful powders (gulal) are thrown and painted on participants -- members of all Hindu religious groups find some significance linked to their ishta-deva during Holi. - Holi is unique as this is the one time of the year where all castes may come together and co-mingle -- the colorful powders obscure social identities and so for this special day all people may come together and celebrate as a united humanity. Navatrati - Navatrati is a nine-night festival that is celebrated across the entire Indian subcontinent. This is a time for stories from the various Puranas and the Ramayana to be shared and dramatically reinacted. Some devotees will use this time to feast while others will instead fast. The next Navatrati starts on October 3rd, 2024. - The actual cause for celebration various throughout India. Some attribute the celebration to the overcoming of Prince Rama over Ravana, the Demon King of Lanka. Others attribute the celebration instead to the Divine Mother Durga's overcoming of the buffalo demon Mahishasura. Regardless of the exact reason, the theme for the season is a celebration of good triumphing over evil. - At the end of the festival peace and knowledge are celebrated in the form of adorations to Saraswati, the goddess of music, art, and learning (and consort of Brahma the Creator God). This often takes place during the day that follows the ninth-night which is celebrated as Dussehra. Unit 2 Playlist Audio Reading: 2e4e8614-bd06-4e22-8246-25a429f7891c.mp3 To begin...looking at a few different ideas...Here is the Hymn to Indra Audio Reading:84d399af-f215-4be6-8fc4-7658b407c2bb.mp3 from the Four Vedas. Don't worry about the definition of every word; that will only frustrate you. The key issue is what power and accomplishments can be credited to Indra, which are what? Now look at the Hymn I. Agni, Audio Reading:b59db48e-d68f-4aeb-bea2-9202769a4493.mp3 as in the Hymn to Indra, Audio Reading:ef31f700-4adc-4c76-ac25-668e7821807a.mp3 don't worry about every last word. Also, translators have the annoying habit of thinking that every divine being should be addressed in the language of the King James Bible. Try to look for the key powers of Agni. What are they? Here is a little bit more to explore Vedic Creation Hymn, Audio Reading:ec1fd8b5-c70b-4ac4-8cca-fb61ebc9e5eb.mp3 The Isha Upanishad, Audio Reading: b16a8c3f-1a52-46c4-874f-143481597942.mp3 Chandogya Upanishad (Ch. 6, Khandas: 1, 12, 13), Audio Reading: 901b7626-85be-43d4-b7b0-3662b1c7b02f.mp3 Bhagavad Gita (Chapter 2, Verses 4-30) Audio Reading: 88672f53-d5a6-4025-8512-1f1a09d32287.mp3 Another good way to understand the development of Hinduism is through the Mahabharata; it explores Hinduism between 400 bce and 200 ce and is regarded by Hindus as both a text about dharma (Hindu moral law) and a history (itihasa, literally “that's what happened”). The Caste System in Visual Form Audio Reading: e5989ed2-ad56-4caf-8ef4-efa4e30275ee.mp3 ...check it out. Finally, watch this:	oercommons	2025-03-18T00:34:20.760686	02/18/2025	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/125322/overview", "title": "World Religions: Hinduism", "author": "Maya Fisher" }
https://oercommons.org/courseware/lesson/78659/overview	lego person visual lego person visual The Lego Man Challenge The Lego Person Challenge Lesson Plan for The Lego Person Challenge Overview The activity to be completed in class is referred to as the “Lego Person Challenge.” It is a game in which the class is divided into separate groups to compete against the other teams to complete the challenge (to recreate a Lego model) as fast as possible. The challenge is designed (through gamification) to allow for all four of Bartle's player types to have a chance to demonstrate their traits and capabilities. The different components of the activity highlite different individual aspects of the participants, and allow for dynamic learning. This activity can only be completed in person, as intragroup communication and physical actions are integral. Gamification - Part 1 Lego Person Challenge When dividing students into teams, try and ensure that each group has one peer that is able to model communication and expecations. Description: The Lego Person Challenge is an interactive and collaborative team based activity. In groups of 5 or more, students must recreate the demonstration model from the pieces provided. The first team to successfuly recreate their model out of the blocks wins. The instructor will keep track of all times to completion. Audience: This activity is most effective for secondary school students. Objectives: • Allow students to delegate tasks and responsibilities. • Use effective communication between group members. • Complete tasks of the challenge using collaboration between peers. Media: • Computer or other display for PowerPoint and infographic. Printouts can be used as well. • Computer or display with internet access. Activities: Students will listen to the instructions on how to complete the Lego Person Challenge. Delegate tasks and responsibilities to peers and fellow group members. Each member performs their role and contributes to their group to complete the activity. Gather students after groups have finished and give summary. Assessment: Take note of worthy participants and their actions throughout the activity. Note any individual actions and give praise during summary. Follow Up: Gamification part 2 is a progressive activity and video on inclusivity and teamwork. Gamification - Part 2 Lego Person Challenge Continued Description: A follow up to the interactive and collaborative team based activity. In the same groups as the prior activity, students must recreate the demonstration model from the pieces provided. The first team to successfuly recreate their model out of the blocks wins. Each team will record their own times, as well as the instructor. Audience: This activity is most effective for secondary school students. Objectives: • Allow students to delegate tasks and responsibilities. • Use effective communication between group members. • Complete tasks of the challenge using collaboration between peers. Media: • Computer or other display for PowerPoint and infographic. Printouts can be used as well. • Computer or display with internet access. Activities: Students will listen to the instructions on how to complete the progressed version of the Lego Person Challenge. Delegate tasks and responsibilities to peers and fellow group members. Each member performs their role and contributes to their group to complete the activity. Gather students after groups have finished and give summary. Assessment: Take note of worthy participants and their actions throughout the activity. Note any individual actions and give praise during summary. Follow Up: Gamification part 3 is a lecture on inclusivity and teamwork.	oercommons	2025-03-18T00:34:20.792053	Interactive	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/78659/overview", "title": "Lesson Plan for The Lego Person Challenge", "author": "Game" }
https://oercommons.org/courseware/lesson/86304/overview	MODULO DE MECANICA DE BUSES Overview AYUDA AL MEJOR CONOCIMIENTO DE LOS CONDUCTORES CONOCIMIENTO BASICO MECANICA BASICA DE BUSES	oercommons	2025-03-18T00:34:20.808554	09/30/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/86304/overview", "title": "MODULO DE MECANICA DE BUSES", "author": "GALO FERNANDO QUISPE CARRILLO" }
https://oercommons.org/courseware/lesson/70470/overview	AP Statstistics Exploration: The German Tank Problem Overview The German tank problem for AP Statistics. Intro to the German Tank Problem - Requirements of the Activity • Level of students: Introductory statistics, probability, or mathematical statistics students • Classroom size: Works well with 25-30 students; students work in small groups of sizes 3 or 4 • Time to do activity in class: 60 minutes Teaching materials: Paper sheets with numbers 1 through N printed on them, Brown lunch bags for each group for holding the cut out slips of paper 1 through N(312) You could just have one bag and have each group come up and draw out 5 , record and then put back. Shake and have next group come up. Today’s German Tank Problem activity is based on this real-world problem, You will play the role of the Mathematicians in WWII. First, Read pages 448 and 449 in TPS 6e and then page 452 starting at CHOOSING AN ESTIMATOR to the bottom ofpage 453. This way you are familiar with what an unbiased estimator is. The German Tank Problem: Capturing the Tanks Learning Goals of the German Tank Problem Activity Bring up the topic of estimation before starting statistical inference What is a parameter? What is an estimator, or a statistic? What is a good estimator? What qualities does a good estimator have? Biased versus unbiased estimators Minimum variance estimators Simulation is a powerful tool for studying distributions and their properties Instructions for Students 0. Form Allied Statistician Units of size 3 or 4 1. Your unit will obtain (through non-violent military action) a bag filled with the serial numbers of the entire fleet of tanks. Please do not look at the numbers in the bag. Randomly draw five slips of paper out of the bag without replacement. DO NOT LOOK IN THE BAG. Record your sample: Sample: ________,__________,_________,__________,_________ Have someone from your unit write your sample results on the board for your military unit. The German Tank Problem: The Mathematicians at work. Decide on a formula for an unbiased estimator Give students about 15 mintues to work through some options. I do not let students use the example options. 2. Discuss in your group how you could you use the data above (and only this data) to estimate the total number of “tanks” (slips of paper) in the bag. Allow yourself to think “outside the box.” Here are some ideas (not necessarily correct or incorrect) to get you started: (a). Use the largest of the five numbers in your sample. (b). Add the smallest and largest numbers of your sample. (c). Double the mean of the five numbers obtained in your sample. 3. Come up with an estimator for determining the total number of “tanks” (slips of paper) N in the bag. That is, develop a rule or formula to plug the 5 serial numbers into for estimating N. Write down your military unit’s formula for estimating N: The German Tank Problem: Check out your formula on other samples 4. Plug in your sample of 5 serial numbers from #1 to get an estimate of N using the formula your unit constructed. 5. Apply your rule to each of the samples drawn by the other groups (on the board) to come up with estimates for N. Construct a dot plot of these estimates below. <----o----o----o----o----o----o----o----o----o----o----o----o----o----o----o----o----o----o----o----> Estimates for N using each group’s sample values The German Tank Problem: How did you do? N=312 for 8. In your group, decide on what you think the true value of N is. Record it. 9. I will give you the correct value of N after the majority of the units are done. It is: N = Did you make a “good” estimate in #8? Why or why not? Did you have a good estimation formula? Is any unit’s dotplot or histogram centered about the value N = ______ approximately? In other words, do any of the estimators (formulas) appear to be unbiased? The German Tank Problem: Conclusion 10. The records of the Speer Ministry, which was in charge of Germany's war production, were recovered after the war. The table below gives the actual tank production for three different months, the estimate by statisticians from serial number analysis, and the number obtained by traditional American/British “intelligence” gathering. Alternatives to German Tanks In 2008 a Londoner started asking for people to post the serial number of their phone and the date they bought it. From the posted information and using estimation formulas, he was able to calculate that Apple had sold 9.1 million iPhones by the end of September 2008	oercommons	2025-03-18T00:34:20.861286	07/27/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/70470/overview", "title": "AP Statstistics Exploration: The German Tank Problem", "author": "Cara Kern" }
https://oercommons.org/courseware/lesson/83020/overview	Introduction to Nanoscale, Scales of the Universe, Metrics, Taking Measurements Overview This is an introductory lesson to SI using Scale of the Universe 2 and other tools to allow students to understand nanoscale and metrics. Learning Objectives Students learn 1. the Scales of the Universe and material reality - phenomenology. 2. Metric System for measurement. Materials Hands on Activity Worksheet (Attached) Procedure - Bellwork: Students do a “Paper tearing activity” with worksheet (attached) - Discuss student reactions, observations, reflections about the nature of physical reality and phenomenology. - Youtube Video: Scales of the Universe 2 https://www.youtube.com/watch?v=uaGEjrADGPA - Discuss scales of the universe - Activating questions… what surprised you most about this video? What level of reality most interests you or which you care about the most? What levels of reality do you think humans can not influence (e.g. cosmological?) - Use Lab USB Microscope to look at objects & project on-screen. - PowerPoint and chalkboard Lecture: Metric System and science of measuring and NanoScale / NanoTechnology - Students measure their height and record different length units in table worksheet (attached) Worksheet Activity on Metric Unit Conversions. Students complete their own and can work together. Credits This learning module was created by Erik P, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:20.881894	07/01/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83020/overview", "title": "Introduction to Nanoscale, Scales of the Universe, Metrics, Taking Measurements", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/83015/overview	Tschudy, Jacquelyn - NASA Space Elevator Worksheet NASA Space Elevator and Carbon Nanotubes Overview This lesson will use videos to introduce the concept of the space elevator and ask students to consider how nanotubes might help create such a device. It includes a teacher-created worksheet for use with the lesson and is designed for an Indiana ICP course. Learning Objectives Apply Newton's laws regarding forces to "design" a space elevator. Materials Worksheet: Space Elevator (attached), Teacher Version (attached) Procedure Study: 1. Watch videos and take notes over Carbon Nanotubes and NASA's Space Elevator. Activate: 2. Students will work in groups answering the questions regarding forces and challenges with designing a space elevator. 3. Students will create a model or drawing of their group's space elevator. Credits This learning module was created by Jacquelynor Tschudy , a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:20.902150	07/01/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83015/overview", "title": "NASA Space Elevator and Carbon Nanotubes", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/83023/overview	Cell Structure and Function Lemon Battery Lab Overview This is a hands on lab to model the energy in cells. Learning Objectives Students learn Cell Respiration is a process of extracting energy from glucose – and this happens in the Mitochondria. Students learn that biological materials hold chemical – electrical energy that can be harnessed in different ways. Procedure BellWork: - Writing Prompt: Describe what a battery is and does. - Draw a model of a battery that shows what happens when a battery is used. - Where do we find batteries at home? - Outside of Home? - Do you know what materials are used in a battery? - In our cells, which organelle functions like a battery? - Discuss and Create a Model in front of the class based on student work. Demonstration or Video: - Lemon Battery Video / Demo and Instructions to students. How to a multimeter Video - Lemon Battery Hands on Activity Post Lab Reflections: - Can we harness energy from our food waste or use it for other means instead of letting it just rot and decompose in the dump? Credits This learning module was created by Erik P, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:20.922102	07/01/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83023/overview", "title": "Cell Structure and Function Lemon Battery Lab", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/75544/overview	Preamble of the U.S. Constitution Overview Print the Preamble of the U.S. Constitution sheet seen here. There are 7 spaces for you to draw your idea of what each phrase means. What does “We the People” look like to you? Draw your idea on the dotted line. Preamble of the U.S. Constitution What does “We the People” look like to you?	oercommons	2025-03-18T00:34:20.939344	12/09/2020	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/75544/overview", "title": "Preamble of the U.S. Constitution", "author": "OER LIBRARIAN" }
https://oercommons.org/courseware/lesson/88798/overview	https://view.genial.ly/61b90ee62e7cd30d5ff1866e/interactive-content-psychology https://view.genial.ly/61ba48904301f70d78743033/interactive-content-escape-room-museum https://www.educaplay.com/learning-resources/11082840-multiple_intelligences.html Multiple intelligences Overview Inteligencias multiples Lesson objectives - To know the theory of multiple intelligences and identify if it is reflected in my context. To recognize the intelligences in which I, my classmates, and family have achieved higher development. At the end of the class Students will be able - To identify the eight types of intelligence and some examples of each one. Skills Focus Reading Listening Speaking Language Focus English Procedure teacher and student activity - Pre Activity - While activity - Post activity Pre activity STs are going to start with an activity to know the things that Ss like or love. First STs will do an icebreaker activity called “choose two pictures”, the purpose with this exercise is to give them the opportunity to select two images and then answer some questions to tell us later why they chose those two and if they felt identified with some of the questions. With this activity STs can talk with the Ss and enter into confidence, also STs indirectly provide some details about the topic of the class. Choose two pictures:https://view.genial.ly/61b90ee62e7cd30d5ff1866e/interactive-content-psychology While activity Then knowing the students’ previous knowledge about multiple intelligences. The STs will make a presentation in Genially through interactive images to explain the topic with their respective meanings and examples. In addition, we will talk about some professions that require the different Intelligences to be able to perform the jobs in a better way. After explaining the topic, the Educaplay application will be used by Ss to put into practice what was seen previously. The Ss will relate images with the different types of intelligence and that is how TSs will clarify doubts that exist on the subject. Genially Activity: Multiple Intelligences: https://view.genial.ly/61b7c69fcc365b0d92960201/interactive-image-multiple-intelligences Educaplay Activity: Matching Columns Game: https://www.educaplay.com/learning-resources/11082840-multiple_intelligences.html Post activity Finally, the ST will carry out two activities, where one of them is called "Mystery box" which is done in PP, where it will be done in two teams and questions will be asked. The other activity will be carried out through Genially and is called "Escape Room Museum", in which both activities will deal with topics seen and it is to evaluate to the S how much they learn about the topic of the types of multiple intelligences and their professions. Escape Room Museum: https://view.genial.ly/61ba48904301f70d78743033/interactive-content-escape-room-museum Powerpoint Game: The Mystery Box. ICT National Standard: - Knowledge Acquisition: Policy Understanding - Knowledge Deepening: Policy Application - Knowledge Creation: Policy Innovation English National Standard Listening: • To Participate in activities and games following simple instructions. • To Identify the main characters and situations in stories and audios. • To Recognize moods according to rhythm, intonation, and oral expressions Reading: • To associate images with their written description • To identify situations and characters within short written texts. I recognize words that give answers to who, how, when, where. • To Use graphics to represent the most relevant information in the text. • To use the dictionary to expand my understanding of texts. Writing: • To write descriptions and short stories. • To Properly use grammatical structures of everyday use. • To write short texts with correct spelling. Speaking: • To answer simple questions such as my name, age, nationality, likes and dislikes and my family. • To say hello and goodbye according to the environment and the time of day. • To request explanations on a specific topic when necessary. •To follow and give simple directions for different familiar activities. •To have a simple conversation with my classmates. • To use short sentences to say what I can or cannot do. Resources and materials: Powerpoint Game Genially Educaplay	oercommons	2025-03-18T00:34:20.972188	12/16/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/88798/overview", "title": "Multiple intelligences", "author": "Cristian Arias Perez" }
https://oercommons.org/courseware/lesson/83506/overview	Education Standards Dye Sensitized Solar Cell Overview This is a solar cell lab that works well with the topic of photosynthesis in the biology classroom and introduces the concept of nanotechnology. Indiana Biology Standard B.2.1: Use a model to illustrate how photosynthesis transforms light energy into stored chemical energy. Learning Objectives Students can explain process of phosynthesis in terms of Proteins and Macromolecules as well as in terms of electron flow analogous to a battery or solar cell. Students learn that energy can be found in unexpected places, in everyday objects, however, it requires sophisticated engineering to make it useable. Materials Multimeter Indium Tinoxide (ITO) Coated Glass Slides X2 Titanium Dioxide (TiO2) Nanoparticles Paste Blackberry Juice Raspberry Juice Iodide Solution Graphite Pencil Binder Clips X 2 Alligator Clips X 2 Glass Rod Scissors Tapes Procedure Teacher Demonstrates appropriate assembly \| Protocol/Presentation for Dye-Sensitized Kits See Attached Lab Protocol \| Worksheet time - Reflections on how dye-sensitized solar cell tells us something about photosynthesis and vice versa. \| Credits This learning module was created by Erik P, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).	oercommons	2025-03-18T00:34:20.997881	07/13/2021	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/83506/overview", "title": "Dye Sensitized Solar Cell", "author": "Integrated Nanosystems Development Institute (INDI)" }
https://oercommons.org/courseware/lesson/111005/overview	Education Standards NASA Solar System Exploration website Discovering Our Solar System Overview This lesson is about the solar system and its objects, such as planets, moons, asteroids, and comets, it is revolving around the place where each celestial body resides. It engages students in exploring, researching, modeling, and discussing these objects and their characteristics, as well as the factors that make Earth habitable and the importance of space exploration. The lesson has four main parts: an introduction, where students are hooked by a hidden moon rock and learn about the lesson’s objectives and agenda; an exploration, where students work in groups to research various solar system objects using classroom resources and the NASA Solar System Exploration website, formulating questions about the solar system; an activity, where groups create models to represent Earth under different solar system conditions, based on “what if” questions, and present their findings; and a discussion, where a class discussion follows, focusing on the habitability factors of planets and the importance of space exploration. The lesson ends with students writing and peer-reviewing reflections on what they have learned. Introduction (5-10 minutes) Use the hook activity to spark students’ curiosity and interest in the topic. Show them the hidden moon rock and ask them to guess what it is, where it came from, and how it got to Earth. Then reveal the moon rock and introduce a close-up picture of the moon on the projector. Briefly discuss the moon’s connection to Earth and its role in our solar system. Review the essential question(s) and learning objective statements with the students. Explain what they will learn and do in this lesson and why it is important. Preview the agenda for the lesson, including the exploration, activity, discussion, and assessment components. Tell students what materials and resources they will need and how they will work in groups or individually. We are going to learn about the solar system and Earth’s place in the universe. We will explore the different objects that make up the solar system, such as planets, moons, stars, asteroids, and comets. We will also investigate how the sun, moon, and planets move and affect each other. Imagine what Earth might be like if it were in a different part of the solar system or galaxy. Are you ready to blast off into space? Exploration (20 minutes) Divide the students into small groups and assign each group a different object or category of objects in the solar system, such as the sun, the planets, the moons, the asteroids, the comets, etc. - Allow each group to use the classroom library, their laptops, and any other research materials around the class room about the solar system. - You can also use the NASA Solar System Exploration website. - Ask each group to come up with a list of questions they have about the solar system, focusing on objects, positions, movements, and potential “what if” scenarios. - Encourage them to be curious and creative. - Have each group share their questions with the class, allowing for discussion and clarification. - Record the questions on the chart paper for future reference. - Write questions that are said more than once on the whiteboard. We will work in groups to research the solar system and its objects. Use our books, approved websites, or youtube videos to find information about: - The sun - Planets in our solar system - The moon - Asteroids - Comets - Any other celestial bodies that you find! Using your research, come up with questions about the solar system, such as - What are the relative positions and movements of the objects? - What are their characteristics and features? - What are some potential “what if” scenarios that could change the solar system or Earth? Activity (25 minutes) Choose one or two of the most engaging “what if” questions generated by the students in the previous section. You can either select them yourself or have the students vote on them. - Divide the students into groups and challenge them to create a model or representation of what Earth might be like if the conditions were different based on the chosen scenario. - Provide some criteria and rubrics for evaluating the models, such as accuracy, creativity, clarity, evidence, and feedback. - Provide students with various materials to use for their models, such as construction paper, crayons, paint, or recycled objects. - Encourage them to be creative and innovative. - Have each group present their model and explain their design choices, emphasizing how Earth might be different in the chosen scenario. - Ask them to provide evidence and reasoning for their claims. Allow other students to ask questions and give feedback. We will create and present models of what Earth might be like if the conditions in the solar system were different. Choose one or two of the most interesting “what if” scenarios that you heard. - Use the materials provided to make your models - (construction paper, crayons, paint, styrofoam spheres, egg cartons, popsicle sticks, anything else you can find around the classroom) Explain your design choices and how they reflect the potential consequences of the chosen scenario. Discussion (15 minutes) - Facilitate a class discussion where students share their thoughts and reflections on the “what if” scenarios explored in the previous section. - Ask them to explain their reasoning and evidence for their claims, and to consider the perspectives and opinions of others. - Encourage students to analyze the factors that affect habitability on a planet, such as distance from the sun, size, mass, gravity, atmosphere, water, temperature, etc. - Ask them to compare and contrast Earth with other planets or moons in the solar system, and to speculate on the possibility of life elsewhere in the universe. - Discuss how the moon rock and the exploration of the solar system contribute to our understanding of Earth’s uniqueness and its place in the vast universe. - Ask them to reflect on the importance and value of space exploration and scientific inquiry, and to express their curiosity and wonder about the universe. We will now share our thoughts and reflections on the “what if” scenarios that you explored in the previous section. We will discuss how the different factors in the solar system affect the habitability of Earth and other planets. We will also connect the moon rock and the exploration of the solar system to our understanding of Earth’s uniqueness and its place in the vast universe Assessment (10 minutes) Provide students with some paper and pens to write their reflections. - Give students about 5 minutes to write their reflections, using the questions as a guide. Remind them to use complete sentences, proper grammar, and evidence from the lesson. Pair students to review each other’s reflections and provide constructive feedback. Ask them to use the following criteria to evaluate the reflections: - Accuracy: Does the reflection accurately describe the objects, positions, movements, and potential consequences of the solar system? - Clarity: Is the reflection clear and easy to understand? Does it use appropriate vocabulary and terminology? - Evidence: Does the reflection provide evidence and reasoning to support the claims and opinions? - Reflection: Does the reflection show personal interest and curiosity about the topic? Does it connect the learning to real-world situations or future lessons? Give students about 5 minutes to exchange their reflections and feedback. Encourage them to use positive and respectful language, and to ask questions if they are unsure or confused. Let's demonstrate our understanding of the solar system and Earth’s place in the universe by writing a short reflection and giving feedback to your desk buddy. Answer the following questions in your reflection: - What are the main objects that make up the solar system and what are their characteristics and features? - How do the sun, moon, and planets move and affect each other in the solar system? - How might Earth be different if it were in a different part of the solar system or galaxy? - What did you learn from this lesson that surprised or interested you the most?	oercommons	2025-03-18T00:34:21.033119	Diagram/Illustration	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/111005/overview", "title": "Discovering Our Solar System", "author": "Assessment" }
https://oercommons.org/courseware/lesson/102440/overview	Literature Review Assignment Overview City of Bangalore was put on world aviation map in 1941 by Hindustan Aeronautics Ltd (HAL). Initial purpose of Airport was to build and repair planes in India and later for commercial operations. Since then city has not looked back, currently has four airports that caters to different segment of aviation. HAL airport continue to support civilian, VIP aircraft movements, charter flights and air ambulances, Yalehankha Airport for defense training, Jakkur Airport for training and hobby flying and newly built BIAL (Bangalore International Airport Ltd) for civil domestic and international operations. The growth of aviation infrastructure and particular airports has led to significant social, economic and environmental impact. There is not much effort from government for measuring, monitoring, sharing and containing the impact. India is signatory to UN SDG (Sustainable Development Goals), COP27 goals and there is ample need for periodically assessing ESG impact and take measure. Literature Review City of Bangalore was put on world aviation map in 1941 by Hindustan Aeronautics Ltd (HAL). Initial purpose of Airport was to build and repair planes in India and later for commercial operations. Since then city has not looked back, currently has four airports that caters to different segment of aviation. HAL airport continue to support civilian, VIP aircraft movements, charter flights and air ambulances, Yalehankha Airport for defense training, Jakkur Airport for training and hobby flying and newly built BIAL (Bangalore International Airport Ltd) for civil domestic and international operations. The growth of aviation infrastructure and particular airports has led to significant social, economic and environmental impact. There is not much effort from government for measuring, monitoring, sharing and containing the impact. India is signatory to UN SDG (Sustainable Development Goals), COP27 goals and there is ample need for periodically assessing ESG impact and take measure. A research title is ‘Understanding and Minimizing Aviation noise pollution for sustainable development of aviation infrastructure in Bangalore’. Below is literature review report with themes of the articles identified as part of literature review. - Growth of aviation leading to decline in environment - Overview Aviation contributes to 3.5% of the global GDP and to numerous social upliftments through direct and indirect means (Ramakrishnan J et al., 2022). As per the International Council on Clean Transportation (ICCT) study, carbon emission from commercial aircraft increased by 32% between 2013 and 2018. The share of aviation emissions by domestic flights has grown significantly with the rise of low-cost carriers (Topham, 2019). The volume of toxic emissions from the aviation industry is expected to surge in the coming years. A considerable amount of electricity is consumed to meet the energy requirement of airport infrastructures such as terminal buildings, aprons, and ground. With growth it brings consequences to environment though it brings economic and social benefits. - Noise Pollution - The land areas surrounding to the aircraft’s approach path (taking-off and landing) are significantly affected by aircraft noise (ICAO, 2020). People settle around the airport due to several reasons due to proximity to work place. Real estate rapidly grows along with the infrastructure at airport. Proximity to aviation noise pollution. It lead to several diseases. - Direct connection to the fast-occurring cataclysmic climate change with - Noise Pollution an estimated consumption of 5% of the world's remaining carbon budget by 2050 (Postorino and Mantecchini, 2014) (Ramakrishnan J et al., 2022). - Operational noise exposure resulting from optimizing the use of current aircraft and infrastructure, and the related benefits of technology and infrastructure improvements. - Sustainability of Airport and aviation infrastructure - Overview Sustainability has become a focus area for practitioners and scholars due to the growing socio-economic issues. The sustainability of airport operations is being raised in various international platforms. This paper aims to identify the dimensions of sustainability and evaluate sustainable practices in airports of selected ASEAN countries. The various dimensions associated with the environmental aspect are energy management, emissions management, water and effluents management, solid waste management. It was understood that noise management, employee development, and community investment belong to the social dimension. Similarly, the factors such as economic contribution, passenger experience, airport safety, and security are inclined to economic dimensions of sustainability. It was found that environmentally sustainable practices have greater importance than social and economic initiatives in the airport context which provide quantifiable benefits for airports in the long term. - Sustainability practices in airports - Sustainable initiatives in airports, such as employee development, energy management, and passenger safety, supported sustainable development goals (SDG) 8, SDG 9, and SDG 11. A weak connection is observed between SDG 14 & SDG 15 and the airport’s sustainable practices(Sreenath S et al., 2022) - Sustainability practices in airports - Environmental sustainability has become an important phenomenon to address the sector's environmental crisis and realize the United Nations Sustainable Development Goals (Centre for Aviation, 2019). Serious contributions from every component industry are required to curtail the aviation sector's climate change problem. Airports are vital energy and capital-intensive investments with high environmental emission potential but are mostly neglected from the aviation emissions and are often forgotten during the sector's environmental criticisms. Airports alone can significantly contribute to the sector's environmental emissions (Airport Technology, 2018) as 14,000 airports operate worldwide (Uniting Aviation, 2018). With the increasing air traffic growth potential in developing economies like India and China, further new airport construction and major airport expansions are also expected (Airport Technology, 2018). In pursuit of an eco-friendly and carbon-neutral industry, the airports in recent years have come under a higher level of scrutiny from the International Civil Aviation Organization (ICAO) for their development and operations (Booth, 2019) (Ramakrishnan J et al., 2022) References Sreenath S, Sudhakar K, Yusop AF (2021). Sustainability at airports: Technologies and best practices from ASEAN countries. Journal of Environmental Management Ramakrishnan J, Liu T, Yu R, Seshadri K, Gou K (2022). Towards greener airports: Development of an assessment framework by leveraging sustainability reports and rating tools. Environmental Impact Assessment Review	oercommons	2025-03-18T00:34:21.054686	04/01/2023	{ "license": "Public Domain", "url": "https://oercommons.org/courseware/lesson/102440/overview", "title": "Literature Review Assignment", "author": "Vinayak Gaonkar" }

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