THEA 2305 Introduction to Theatre & DanceActivity #2 The Spoke.docx

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THEA 2305: Introduction to Theatre & Dance Activity #2: The Spoken Word Due: Sunday, Feb. 28th by 11:59pm. (submit as an attached WORD DOCUMENT in Blackboard) Points Possible: 50 READ THE INSTRUCTIONS CAREFULLY ~ You should submit the following: 1) a transcribed dialogue in manuscript format (see Byrd’s Boy examples for script format) 2) a 1-2 pg analysis of a person you have observed in solitude, 3) a monologue created from the observation 4) Refer to the Student Example provided that provides all three parts of the assignment, along with the Byrd's Boy script example to see how to write Part 1: Creating Dialogue on the page. Objective ~To observe, listen and transcribe real human interaction for the purpose of creating engaging dialogue, monologue and characters. ~To define the voice of a character through use of rhythm, vernacular and “musicality”. ~To reveal a character’s point of view on the world, value system and given circumstances. Description: This exercise is an exploration in expressing a character’s “voice” by writing dialogue and an original character monologue in writing. You may submit a video of you performing the monologue for 10 bonus points. Please utilize the examples posted for you. Directions: YOU MUST COMPLETE BOTH PART 1 & PART 2 OF THE EXERCISE PART 1: Creating Dialogue Listen to one real-life, short conversation between two people (12 - 14 exchanges is fine). Do not let them know that you are observing them—be a fly on the wall. Script the short exchange as close to the way it happened as you can. Use punctuation, overlap, interruption, pauses, all of the scripting devices that we will begin to explore over the next few weeks, in order to convey in the written word the way the conversation was spoken. Create stage directions to establish the where and when of the conversation as well as any other clues as to the way you want the text to come off the page. Try to capture unique individuals in unique circumstances. Steer clear of the mundane. Use the manuscript style from the Byrd’s Boy script as an example in order to write your dialogue. PART 2: Creating a Monologue (a one-person speech to an imaginary “other” – Complete both parts) Find an individual to observe for a brief period of time. Choose someone that engages your imagination. You might observe someone who is speaking or someone who is deep in thought. Observe everything about the person that you can, and without judging him/her, try to describe in writing what conclusions you draw about the person. What is his/her story? In what or whom does he/she believe? What does he/she want? What stands in his/her way? Does he/she have a secret? This should be a minimum of 1-2 pages of detail. You should write this in the first or third person. THEN Imagine a circumstance in which the person you.

Education

script example to see how to write Part 1: Creating Dialogue on
the page.
Objective
~To observe, listen and transcribe real human interaction for the
purpose of creating engaging dialogue, monologue and
characters.
~To define the voice of a character through use of rhythm,
vernacular and “musicality”.
~To reveal a character’s point of view on the world, value
system and given circumstances.
Description:
This exercise is an exploration in expressing a character’s
“voice” by writing dialogue and an original character
monologue in writing. You may submit a video of you
performing the monologue for 10 bonus points. Please utilize
the examples posted for you.
Directions: YOU MUST COMPLETE BOTH PART 1 & PART 2
OF THE EXERCISE
PART 1: Creating Dialogue
Listen to one real-life, short conversation between two people
(12 - 14 exchanges is fine). Do not let them know that you are
observing them—be a fly on the wall. Script the short exchange
as close to the way it happened as you can. Use punctuation,
overlap, interruption, pauses, all of the scripting devices that we
will begin to explore over the next few weeks, in order to

convey in the written word the way the conversation was
spoken. Create stage directions to establish the where and when
of the conversation as well as any other clues as to the way you
want the text to come off the page. Try to capture unique
individuals in unique circumstances. Steer clear of the
mundane. Use the manuscript style from the
Byrd’s Boy
script as an example in order to write your dialogue.
PART 2: Creating a Monologue (a one-person speech to an
imaginary “other” – Complete both parts)
Find an individual to observe for a brief period of time. Choose
someone that engages your imagination. You might observe
someone who is speaking or someone who is deep in thought.
Observe everything about the person that you can, and without
judging him/her, try to describe in writing what conclusions you
draw about the person. What is his/her story? In what or whom
does he/she believe? What does he/she want? What stands in
his/her way? Does he/she have a secret?
This should be a minimum of 1-2 pages of detail.
You should write this in the first or third person.
THEN
Imagine a circumstance in which the person you’ve observed
must speak what is burbling under the surface. He/she MUST
reveal what is inside, but it may be very difficult for him/her to
find the words. Write the monologue that he/she would speak if
she had a deep need to express him or herself. He/she might be
talking to a long lost relative or love. Perhaps they confront
someone. He or she might even need to stir up a great mass of
people. You decide, and find his/her truest voice for doing so.
This monologue should be at least ¾ to 1 page long (double-
spaced) but can be longer.

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One of the examples I chose for my readings was, “ For Coloured girls who have considered suicide/ when the rainbow is Enuf” by poet Ntozake Shanges. Shanges writes the excerpt in the first person. I enjoy writing stories in the first person. When writing in the first person everything is told intimately. The expert is about cruelty in a racist and sexist society. It is obvious from the name of the title the poet uses race to form an important part of the character’s identity. In the excerpt, she describes the lady that enters the stage as the “lady in Brown” and their racial identity and gender and only identified by their color have an effect, the perspective through which the readers experience all of the different narratives. Shanges uses common abbreviations and occasional derivations from traditional English as well as jargon and metaphors. This helps to reveal who the social group is. The use of language helps the protagonist express their feelings or explain their way of thinking. Shanges uses language that is very distinctive which makes the character’s voice very powerful. This excerpt has many similarities to the novel that I will be working on. The novel I will work on is in the first person and the theme is about discrimination and the injustices of human beings. I am happy I got a chance to read this excerpt, it was very powerful and gave me some ideas that I will most likely use for my novel. Choose one example from the Module Four resources that you find most interesting. Discuss the influence of the narrative voice on your reading experience. Make sure to provide an excerpt that you think embodies the narrative voice used in your text. In response to your peers, discuss how you could use this narrative voice in your own writing. For example, how might you apply techniques for using third-person limited point of view? How might you convey an unreliable, first-person narrator? Or do you think you could even use this type of narrative voice? If not, why not? odule Three, you discussed methods of structuring narrative. Module Four focuses on how that narrative is told (as in, through whose means of perception) as well as the characters that populate it. Character has been called the “most important” element of creative writing (Stern 96), while point of view has been called the most “complex” (Burroway 276). Both address the who—who tells the piece, and who it is about. Sometimes, the two are one and the same, as with the first-person central narrator who tells a story about himself or herself. Often, however, they are different entities entirely—a narrative written in third-person limited or third-person omniscient point of view tells a story about other characters, for example, and a first-person peripheral narrator tells a story from a secondary character’s point of view. But even when the character and point of view are distinctly separate, the two elements, like everything else in a creative work, are inextricably .

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Term Definition Allegory an extended symbol that lasts for the duration of the entire narrative Alliteration repetition of consonant sounds; (try to trick ten tiny teens) or Peter Piper picked a pack of pickeled peppers. Allusion a reference to something else Archetypes symbolic elements that recur in different cultures Assonance repetition of vowel sounds; (Owls owe our only ounce) Author The person who wrote the text. Diction Word Choice, determines tone Dynamic character changes over time First-person singular narrator Internal; narrator uses the first person pronoun “I” (first-person plural- “we”, less common) Flat Character Behaves in an expected manner Foil a character held up consistently as a contrast to another character. Foreshadowing clues as to what is to come ahead Illusion like a mirage or a ghost, a vision that is not real In media res in the middle of things Irony when the intended meaning is the opposite to what is written or said. (It says one thing but means the reverse) Limited narrator external; access to thoughts and feelings of one character. Metaphor More explicit comparison (she is the sun) Narrative a story, whether true or fictional, that is told by a narrator Narrator The person in the text who tells the story. Omniscient narrator external; has access to thoughts and feelings of all characters. Onomatopoeia words that sound like what they mean (splish splash) Oxymoron a combination of contradictory ideas (wise fool) Personification An inanimate object displays human behavior. (The rock talks) Round Character Has a psychological complexity Second person narrator could be internal or external. Addresses “you”. Less common. Turns reader into character in story. Simile comparison using like or as; She is like the sun. Static Character remains the same over time Stock character represent a "type," often like a cliché Symbol something that stands for something else Syntax Sentence structure Third-person narrator External; refers to all characters through pronouns he, she, they. Narrator is not a character in the action. Tone writer's attitude toward Unreliable narrator often a 1 st person narrator is unreliable. Unknowingly reveals character flaws. RHET 1302 Essay #1: Rhetorical Analysis Submit: Upload online through the TurnItIn assignment button The submission button will not be visible until the week before the assignment is due You will also upload your draft this way Length: 3-4 FULL pages with Works Cited (Works Cited does not count towards page total) Sources: One speech Points: Final (100 points), Full Draft (20 points) Purpose: Rhetoric is the art of effective communication, or as Aristotle stated, “the ability to see or identify in any given circumstance the available means of persuasion.” In Rhetoric, we focus on “how” people are communicating rather than simply what they are saying. This.

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Theories of LeadershipMany schools of thought have developed t.docx

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THEORIES OF INTELLECTUAL DEVELOPMENT Piaget’s Theory We begin with the theory of the famous Swiss psychologist, Jean Piaget (Gruber & Voneche, 1995). Piaget disagreed with the behaviorist notion that children come into this world as “blank slates” who simply receive and store information about the world from other people (Driver, Asoko, Leach, Mortimer & Scott, 1994). Instead, Piaget argued that, at all ages, humans actively interact with their world, and through those interactions try to interpret and understand it in terms of what they already know. He also thought that humans change the ways in which they interact with and interpret the world as they grow older and more experienced. What is important for teachers to understand is (1) how children are likely to interact with and interpret the world at particular ages and (2) what factors lead children to move from less sophisticated to more sophisticated forms of interaction and interpretation. In describing how children interact with and interpret the world, Piaget proposed four stages of intellectual development. He believed that these stages were universal, that is, that children everywhere, regardless of culture or experience passed through the same stages. He also believed that children progressed through the stages in an invariant order, that is, all children move from simpler, less adequate ways of thinking to increasingly more complex, sophisticated ways of thinking. Piaget did allow that some children might develop faster than others and that some might never achieve the highest stage(s) of thinking. Piaget’s claims about stages of intellectual development have faced many criticisms, as you have no doubt read in your human development text. For example, it has been suggested that development is much more gradual and piecemeal than implied by the notion of a stage (Santrock, 2008, 2009). Nevertheless, these stages still provide a useful framework for teachers. In particular, Piaget’s stages provide clues about how students will interpret and approach many of the problems that you pose, as well as clues about the types of problems and experiences that are most likely to engage students and be beneficial for them (Elliott, Kratochwill, Littlefield & Travers, 2000; Feinburg & Mindess, 1994; Santrock, 2008). The four stages that Piaget proposed are described briefly below. Please note that the age ranges listed are only approximations. Sensorimotor period. This stage characterizes the thinking of children up until the age of 2 years. During this stage, infants and toddlers learn about the world by acting on it directly through motoric and sensory activities, such as sucking, grasping, and looking. In this way, they gradually learn about the physical properties of objects and develop rudimentary understanding of space, time, and causality. Preoperational period. This stage characterizes the thinking of children between the ages of 2 and 6 years. Preoperational chil.

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Theories of Maladaptive Behavior Locate at least two peer-reviewed scholarly articles in the Keiser online library that demonstrate how the biological theory explains etiology in two different mental illnesses. Answer the following questions about each different mental illness: a) What are the specific biological mechanisms associated with each diagnosis? b) How would each diagnosis be explained by a major psychological theory other than biological theory (e.g., cognitive-behavioral)? c) Could each disorder be better understood by the combination of both biological theory and another perspective? If not, why not? If so, which other perspective is best? Why? Reading pic Overview, History, and Psychological Theories Readings Butcher, J.N., Mineka, S., & Hooley, J.M. (2017). Abnormal psychology (17th ed.). Upper Saddle River, NJ: Pearson. Chapter 1: Abnormal Psychology: An Overview Chapter 2: Historical and Contemporary Views of Abnormal Behavior Chapter 3: Causal Factors and Viewpoints American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders (5th ed.). Washington, DC: Author. Introduction (pp. 5-17) Use of the Manual (pp. 19-24) Highlights of Changes from DSM-IV to DSM-5 (pp. 809 – 816) .

Theories of Maladaptive BehaviorLocate at least two peer-rev.docx

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Theories help frame more than presenting problems—they also fram.docx

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THEORETICAL REVIEW Please read through these extensive assignment instructions carefully. If you allow yourself enough time on this assignment, you can work with an online writing tutor by going to this website : https://case.fiu.edu/writingcenter/make-an-appointment/index.html OVERVIEW OF THE PAPER In this Gordon Rule Writing course, you will complete three writing assignments that build on each other to facilitate your progress. The goal of these writing assignments is for you to sharpen your research skills, apply communication theory to everyday life, and demonstrate college-level writing skills . SELECTION OF THE TOPIC 1. Select Section From the sections of our course textbook on communication theories, you will choose three sections to base your three Theoretical Review papers on. For the Theoretical Review Paper_1, you will work with the first section of the course textbook -- The Self and Messages . This section is assigned to you to get us started with the writing assignments, however, going forward in the course you will be able to choose the section you want to focus on for each Theoretical Review Paper. The sections you can choose from are below and they align with the sections of the course textbook. The sections on communication theories are: The Self and Messages (Chapters 4, 5, 6, 7) Relationship Development (Chapters 8, 9, 10, 11) Groups and Organizations (Chapters 14, 17) Culture and Diversity (Chapters 27, 28) Public and Media (Chapters 18, 21, 25, 26) 2. Select a Theory from each section From each section, you will select a theory you will research and write about in your Theoretical Reveiw Paper. For the first Theoretical Review Paper you will select theory/theories from (1) The Self and Messages (Chapters 4, 5, 6, 7); choose one theory to research. With that theory, you should research how the theory applies to some aspect of communication of interest to you. For example, here are some topics (sections of the text, theories, communication aspect) that other students have previously chosen: The Self and Messages Symbolic Interactionism (theory), intrapersonal communication (communication context), and self-esteem among college students (situation or issue from everyday life). Symbolic Interactionism (theory), intrapersonal communication (communication context), and its relationship to body-shaming (situation or issue from everyday life). Coordinated Management of Meaning theory, intrapersonal communication (communication context), and its effects on the business environment (situation or issue from everyday life). Cognitive Dissonance Theory, intrapersonal communication (communication context), and the effects on romantic relationships (situation or issue from everyday life) Expectancy Violations Theory, intrapersonal communication, and employer/employee relationships (situation or issue from everyday life) Relationship Development Uncertainty Reduction Theory, interpersonal.

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Theoretical Medicine & Bioethics, 35, 31-42. To Treat a Psychopath Heidi L. Maibom Recent successes in manipulating the activity of the brain more or less directly—e.g. through transcranial magnetic stimulation or the administration of drugs that inhibit the production or reuptake of certain neurotransmitters—promise that one day soon it may be possible to treat a range of hitherto treatment resistant disorders [1-4]. Conventional treatment is typically unsuccessful with psychopaths [5-6]. Some people, however, are now quite optimistic about the possibility of treating psychopathy with drugs that directly modulate brain function [2]. Does the recent evidence support the idea that we will soon be able to treat psychopathy? I shall argue that it does not. Psychopathy is a global disorder in an individual’s worldview, including his social and moral outlook. Because of the unity of this Weltanschauung, it is unlikely to be treatable in a piecemeal fashion. But recent neuroscientific methods do not give us much hope that we can replace, in a wholesale manner, problematic views of the world with more socially desirable ones. There are, therefore, principled reasons that psychopathy is so singularly treatment resistant. 1. The Trouble with Psychopaths By contrast to depression, which can often be treated by the administration of mood-enhancing drugs (SSRIs or SNRIs)[footnoteRef:1] and/or psychotherapy, psychopathy is a disorder involving a wide variety of symptoms that, on the face of it, have little in common except for their moral and social undesirability. Depressive symptoms typically form a unified picture of a certain type of affective disorder. Psychopathy has been called a moral or an antisocial disorder [7, 8]. Where it seems relatively obvious, at least in theory, that to treat depression one must help elevate the subject’s mood and alleviate her despair, how to treat amoral or antisocial tendencies is less clear. And since we have experience of ingesting substances that are mood-elevators, at least in the short term, such as champagne or chocolate, it is not too far-fetched to suppose that other substances may produce a longer-term effect on a person’s mood. But what of amorality or antisociality? [1: Serotonin reuptake inhibitors and serotonin and norepinephrine reuptake inhibitors.] On closer inspection, depression and psychopathy have more in common than it might seem at first. The two disorders represent more global divergences of cognitive and emotional functioning compared to the statistical norm. Depressed individuals tend to have a rather dark view of themselves and existence in general, associated with social withdrawal and lack of interest in activities, even those that were previously of great importance to them. Georg Northoff has suggested that depressed individuals may experience difficulties projecting themselves into the future or, if you like, imagining a future different from their current reality.[footnoteRef:2.

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THEORETICAL FRAMEWORK FOR A FAMILY AND PALLIATIVE NURSING PRACTITIONER Presented by: Iriabel Nepravishta * INTRODUCTION Peplau’s Theory Interpersonal Relationship Challenge Facing Palliative Care Practitioners Impact of Society Perception of Palliative Care on Health Care Outcomes Ways in which Peplau’s Theory can be used to address the Scope of Practice Restriction Challenge Perspective Offered through the Application of Peplau’s Theory Conclusion References A Palliative Nurse Practitioner (PNPR) is an advanced practice registered nurse. PNPR is trained to assess patient needs, diagnose disease, interpret diagnostic results and provide palliative medicine to treat illness with complex pain and symptoms. Additionally, PNPR will anticipate and meet the needs of the patient and family facing terminal illness and bereavement (Forchuk, 2015). * PEPLAU’S THEORY INTERPERSONAL RELATIONSHIP Three phases: orientation, working and termination phases Establish therapeutic relationship to provide better patient care. A guide for resolution of the issues and concerns Peplau’s Theory Views a Palliative Nursing Practitioner as a professional that establishes therapeutic relationship with patients. Peplau’s theory consist in 3 phases which are orientation, working and termination stages. During the orientation phase, the patient, family and nurse work together to recognize, clarify, and define existing problem. The working phase includes deliver and application of interventions, and services of care to treat, explore and change a situation. Finally, the termination phase includes resolution and successful completion of all the other two stages on finalization of care (Townsend, 2015). This theory is significant in palliative care because it will allow me to determine the needs of my patients and their families through the use of the orientation, working concepts. In doing so, I can serve as a resource person, a counselor and surrogate. In addition, I can provide individualized care that will meet the needs of my patients and their families. But most importantly, this theory is significant to palliative care because it will help me to transition patients and their families through end of life care by applying the concepts of the termination phase (Townsend, 2015 p. 40) , (Forchuk, 2015). * CHALLENGE FACING PALLIATIVE CARE PRACTITIONERS Perception of Palliative Care. Different approaches of care among health care providers Family conflicts. Cultural differences Today’s society struggles with the subject of death. We live in a decade where modern technology and treatments are prolonging life and the concept of natural death is seeming a vague illusion and almost an impossible concept to accept and face. We are dragged into the philosophy that there is nothing worse than letting our loves ones go and we hold them tight without acknowledging and respecting their wishes. Palliative Care Nurse Practitioners (PNPR) play an importan.

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Theoretical Perspectives Since Children's Literature is written for the child audience, authors and illustrators need to understand how children develop emotionally, mentally, physically and spiritually. Authors and illustrators must cater to children through their use of ideas, language, images, and style. They must also understand how children learn in order to know how to integrate ideas with language, images and style for the child mind. In this section of our course, you will learn about three child development theories, including Piaget's theory on how children develop cognitively, Kohlberg's theory on how children learn moral reasoning, and Erikson's stages on how a child develops psychologically. You will also learn about two educational theories in children's literature, including Vygotsky's Social Development Theory and Rosenblatt's Reader's Response/Transaction Theory. Having an understanding of how children develop and learn will help you critique the many types of children's literature you will analyze in this course. Piaget's Theory of Cognitive Development View the short film clip titled "Piaget's Stages of Cognitive Development" published by Khan Academy to gain perspective on Piaget's theoretical stages. Keep in mind that Piaget believed that knowledge is constructed--children's learning builds on what is already known. Use the following outline as a guide. What examples can you use to illustrate each stage? Stage 1: 0-2 Years of age--Sensorimotor Stage Children gather information about the world through their senses and their movement. Stage 2: 2-6 years of age--Pre-Operational Stage Children develop language skills and begin to use symbols to represent language. Stage 3: 7-11 Years of age--Concrete Operational Stage Children learn to use mental operations such as math reasoning. Stage 4: 12-Up Years of age--Formal Operational Stage Children learn abstract and moral reasoning. Kohlberg's Theory of Moral Development (An expansion on Piaget’s Theory) View the short video titled “Kohlberg's Theory of Moral Development Explained!” published by Learn My Test. Examine each level and stage carefully, and then consider the 3 main criticisms of Kohlberg's theory: Level 1: Pre-conventional Morality--at this level, children tend to obey rules to avoid punishment. They also make choices based on self-need. Level 2: Conventional Morality--at this level, children tend to conform to societal expectations. They typically respect and abide by rules. Level 3: Post-conventional Morality--at this level, children recognize that members of society should agree to standards that set rules; they view justice as more important than laws. Consider: Why is Kohlberg's theory on moral development important for authors to be aware of as they write literature for children? What are the 3 main criticisms of Kohlberg's theory? Are these criticisms justifiable? Why or why not? Erikson's Stages of Development View the short video clip about Eri.

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