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2022 ◽  
pp. 167-187
Author(s):  
Charles William Kemp

Understanding one of the major purposes of a student's individual education program (IEP), the postsecondary transition planning section, is key for preservice teachers. Though federal guidelines mandate the transition plan to start by age 16, many states require the development of the plan much earlier. The author believes that for some students, the transition plan is completed too late to have full effect. The chapter will give the preservice teacher the knowledge needed to understand the component of the transition plan and offer some resources and suggestions for assessments to develop the transition plan.


2021 ◽  
Author(s):  
◽  
Kieran Dale-O'Connor

<p>This thesis surveys a selection of writing by Bruce Stewart, Witi Ihimaera, and Whiti Hereaka, and considers how these texts represent varying modes of masculinity available to and expressed by Māori boys and young men. Whilst the three authors present starkly different characters, all of these characters challenge pre-existing claims about Māori men and masculinity propagated by earlier, predominantly Pākehā writers.   The first chapter focuses on the collection Tama and Other Stories by Bruce Stewart (1989). Many of the characters in this collection feel pressured to be tough and stoic, but I argue that such pressures are shown to come largely from Pākehā father figures. The modes of masculinity that the boys either portray or wish to portray are much less focused on stoicism, aggression, and physicality than what they see from their fathers. I suggest that Stewart sees instruction in tikanga Māori and mātauranga Māori as useful if not essential for young Māori men to escape the pressure of oppressive colonial narratives about Māori masculinity.   The second chapter discusses Witi Ihimaera’s novel Bulibasha (1994). In contrast to Stewart’s stories, Bulibasha presents a young boy largely isolated from Pākehā society, but I argue that this does not mean that he is free from the influence of Pākehā masculinity. The novel presents many different expressions of masculinity but only those that are influenced by colonial narratives and which reinforce Pākehā hegemony seem to prosper. Such colonial narratives and influences are arguably less visible than they are in Tama and Other Stories, but this does not make them any less insidious nor damaging to the men in Bulibasha. I suggest that spaces where Pākehā masculinity is less dominant, men are shown to be less stoic, domineering, and oppressive. Likewise, characters who appear to be more immersed in te ao Māori also seem to promote a greater sense of balance and equity between men and women.  The final chapter looks at the novel Bugs by Whiti Hereaka (2013). The influence of Pākehā societal norms and narratives on Māori masculinity is shown to be more acute in the setting of this text than in the mid-20th century setting of Tama and Other Stories and Bulibasha. Characters in Stewart’s writing are able to construct their own decolonised spaces where Māori masculinity can be expressed, whilst Ihimaera’s characters struggle to avoid colonial influences even in a predominantly Māori community. By contrast, Hereaka shows characters who feel the full effect of urbanisation and the inherent marginalisation of te ao Māori. For characters in the urban 21st century setting of Bugs, connection to te ao Māori and the ability to access knowledge of tikanga Māori is severely restricted. Whilst Stewart’s and Ihimaera’s characters had access to different visions of Māori masculinity, and varying access to te ao Māori, characters in Bugs are more isolated. I argue that because of this, their ability to reject Pākehā narratives is more limited, and after rejecting the influence of Pākehā masculinity it is not always obvious what alternatives are available.  Throughout this thesis deference is given to critics who write from a decolonising and kaupapa Māori perspective. In particular, the works of Brendan Hokowhitu on Māori masculinities, Ani Mikaere on gender in Māori society, Linda Tuhiwai Smith on decolonizing methodologies, Elizabeth Kerekere on sexuality, gender, and Māori, and Belinda Borell on cultural identity and urban Māori, inform the reading and analysis of each of the texts.</p>


2021 ◽  
Author(s):  
◽  
Kieran Dale-O'Connor

<p>This thesis surveys a selection of writing by Bruce Stewart, Witi Ihimaera, and Whiti Hereaka, and considers how these texts represent varying modes of masculinity available to and expressed by Māori boys and young men. Whilst the three authors present starkly different characters, all of these characters challenge pre-existing claims about Māori men and masculinity propagated by earlier, predominantly Pākehā writers.   The first chapter focuses on the collection Tama and Other Stories by Bruce Stewart (1989). Many of the characters in this collection feel pressured to be tough and stoic, but I argue that such pressures are shown to come largely from Pākehā father figures. The modes of masculinity that the boys either portray or wish to portray are much less focused on stoicism, aggression, and physicality than what they see from their fathers. I suggest that Stewart sees instruction in tikanga Māori and mātauranga Māori as useful if not essential for young Māori men to escape the pressure of oppressive colonial narratives about Māori masculinity.   The second chapter discusses Witi Ihimaera’s novel Bulibasha (1994). In contrast to Stewart’s stories, Bulibasha presents a young boy largely isolated from Pākehā society, but I argue that this does not mean that he is free from the influence of Pākehā masculinity. The novel presents many different expressions of masculinity but only those that are influenced by colonial narratives and which reinforce Pākehā hegemony seem to prosper. Such colonial narratives and influences are arguably less visible than they are in Tama and Other Stories, but this does not make them any less insidious nor damaging to the men in Bulibasha. I suggest that spaces where Pākehā masculinity is less dominant, men are shown to be less stoic, domineering, and oppressive. Likewise, characters who appear to be more immersed in te ao Māori also seem to promote a greater sense of balance and equity between men and women.  The final chapter looks at the novel Bugs by Whiti Hereaka (2013). The influence of Pākehā societal norms and narratives on Māori masculinity is shown to be more acute in the setting of this text than in the mid-20th century setting of Tama and Other Stories and Bulibasha. Characters in Stewart’s writing are able to construct their own decolonised spaces where Māori masculinity can be expressed, whilst Ihimaera’s characters struggle to avoid colonial influences even in a predominantly Māori community. By contrast, Hereaka shows characters who feel the full effect of urbanisation and the inherent marginalisation of te ao Māori. For characters in the urban 21st century setting of Bugs, connection to te ao Māori and the ability to access knowledge of tikanga Māori is severely restricted. Whilst Stewart’s and Ihimaera’s characters had access to different visions of Māori masculinity, and varying access to te ao Māori, characters in Bugs are more isolated. I argue that because of this, their ability to reject Pākehā narratives is more limited, and after rejecting the influence of Pākehā masculinity it is not always obvious what alternatives are available.  Throughout this thesis deference is given to critics who write from a decolonising and kaupapa Māori perspective. In particular, the works of Brendan Hokowhitu on Māori masculinities, Ani Mikaere on gender in Māori society, Linda Tuhiwai Smith on decolonizing methodologies, Elizabeth Kerekere on sexuality, gender, and Māori, and Belinda Borell on cultural identity and urban Māori, inform the reading and analysis of each of the texts.</p>


Author(s):  
Heiko Strunk

Artikelbeginn:[English title and abstract below] Der Rhythmus wählt mich und erstrahlt in mirIch bin der Geige Klang, nicht ihr SpielerMahmud Darwish Als literarischer Veranstalter mit Schwerpunkt Poesie hatte die Literaturwerkstatt Berlin, Initiatorin von Lyrikline und 2016 in Haus für Poesie umbenannt, vor 1998 bereits viele überzeugende Erfahrungen mit den ≫Berliner Sommernächten der Lyrik≪ gemacht, sodass von Anfang an klar war, dass Stimme und Vortrag bei unserem Vorhaben eine zentrale Rolle spielen müssen. Als wir anfingen, wollten wir mit Lyrikline eine Anlaufstelle im Internet schaffen, die jedem die Möglichkeit bietet, einfach und unaufwendig mit zeitgenössischer Poesie in Kontakt zu kommen, dieser vermeintlich schwierigen, von vielen respektvoll ignorierten und im Buchladen mit schwindend knappem Platz abgespeisten und zu oft bleischweren Materie. LyriklinePoets on the Internet in Their Own Voices This article is an overview of Lyrikline, a website that presents contemporary German and international poetry in text and sound. Users can hear the poems recited in the poet‘s own voice and can read the poem in the original language and in various translations. About 1,500 poets can be currently heard on the website, all with their individual poetic and poetological characteristics. Those interested in children’s and young adult poetry will find contemporary poems in the category ≫Poetry for Children≪ (under Genres & Aspects). Above all, Lyrikline offers the voice, sound, and performance of the poet and the poem. Aside from this fascinating authenticity, the listener gets to hear beyond the individual voice and timbre of the poet, as the tonal aspects of a poem, the phonetic references and the rhythmic structures become audible. Rhymes, assonances, and alliterations unfold to their full effect, stricter stanza forms reveal their structure audibly, and mood, intensity, and even pathos, may manifest itself. Lyrikline demonstrates why poetry must be heard to be fully appreciated.


2021 ◽  
Vol 5 (Supplement_1) ◽  
pp. 181-181
Author(s):  
Tim Kuball ◽  
Georg Jahn ◽  
Claas Pollmanns

Abstract Research on intergroup contact suggests that negative contact experiences affect cognitive representations such as stereotypes more strongly than positive contact experiences. To comprehensively examine the full effect of intergroup contact, the valence of the contact experience as well as the affective and cognitive dimensions of prejudice should be assessed. In ageism research, previous studies typically focused only on contact of positive valence and were limited to the perspectives of younger individuals on older adults. Primary objective of this study is to examine both positive and negative contact frequency and their relation to affective and cognitive dimensions of ageism from the perspectives of younger adults between the age of 18 and 25 (study 1) and older adults between the age of 60 and 92 (study 2). Consistent with previous research on intergroup contact, our results confirm that both types of contact were similarly predictive of affective facets of prejudice. However, only in study 2 that assessed older adults’ agreement with contemporary stereotypes about young men and women, negative compared to positive contact frequency proved to be a stronger predictor of the cognitive dimension of ageism. Our findings emphasize the importance of focusing on all dimensions of prejudice and highlight the need to consider the perspectives of young and old in ageism research.


2021 ◽  
Author(s):  
◽  
Jansen Aui

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>


2021 ◽  
Author(s):  
◽  
Jansen Aui

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>


2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Susy Echeverria-Londono ◽  
Xiang Li ◽  
Jaspreet Toor ◽  
Margaret J. de Villiers ◽  
Shevanthi Nayagam ◽  
...  

Abstract Background Deaths due to vaccine preventable diseases cause a notable proportion of mortality worldwide. To quantify the importance of vaccination, it is necessary to estimate the burden averted through vaccination. The Vaccine Impact Modelling Consortium (VIMC) was established to estimate the health impact of vaccination. Methods We describe the methods implemented by the VIMC to estimate impact by calendar year, birth year and year of vaccination (YoV). The calendar and birth year methods estimate impact in a particular year and over the lifetime of a particular birth cohort, respectively. The YoV method estimates the impact of a particular year’s vaccination activities through the use of impact ratios which have no stratification and stratification by activity type and/or birth cohort. Furthermore, we detail an impact extrapolation (IE) method for use between coverage scenarios. We compare the methods, focusing on YoV for hepatitis B, measles and yellow fever. Results We find that the YoV methods estimate similar impact with routine vaccinations but have greater yearly variation when campaigns occur with the birth cohort stratification. The IE performs well for the YoV methods, providing a time-efficient mechanism for updates to impact estimates. Conclusions These methods provide a robust set of approaches to quantify vaccination impact; however it is vital that the area of impact estimation continues to develop in order to capture the full effect of immunisation.


2021 ◽  
Vol 13 (21) ◽  
pp. 12183
Author(s):  
Fotis Kitsios ◽  
Maria Kamariotou ◽  
Evangelos Grigoroudis

Open data hackathons are events where the actors from an ecosystem collaborate to build platforms that will benefit the public, creating a win–win scenario for all of them. Sadly, many digital services produced in hackathons are discarded only by providing access to open data that cannot boost economic benefits. Therefore, it is necessary to create a model that fosters value and entrepreneurship for the open data ecosystem, aiming to develop an economically self-sustained ecosystem. The purpose of this paper is to identify the challenges participants of open data hackathons can face to present a model that will support the improvement of these contests. This paper uses the quadruple/quintuple helix innovation model to drive innovation and entrepreneurship in Thessaloniki’s open data ecosystem to develop applications using open data. The results indicate that, although actors are aware of open data use, a new type of open data ecosystem that creates a win–win scenario between the entities in the open data ecosystem is required. The proposed model implies a full effect that promotes cooperation and networking among the entities in the city’s ecosystem towards achieving the aim of increasing citizens’ quality of life.


Author(s):  
Nan Xia

This Article critically examines the implementation of the Nagoya Protocol on Access and Benefit Sharing under the Convention on Biological Diversity (CBD) by the Chinese Legal system. While referring to the major provisions of the Nagoya Protocol, the Article seeks to investigate how far the Draft Regulation (2017) in China is meeting the requirements of the Nagoya Protocol and what needs to be done in giving full effect to the obligations of the Protocol.


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