The Dark Side of Online Education Essay Example | Topics and Well Written Essays - 1000 words

The Dark Side of Online Education - Essay Example The OU of United Kingdom, Indhira Gandhi National Open University (IGNOU) of India etc are some famous open universities in which internet is the principal medium of delivering educational materials. Online education provides a capacious range of courses and learning centers for the students to choose from, which in turn provides them with the opportunity to learn according to their tastes and visions. The convenience of learning right from their homes is yet another feature of online education. It provides an environment just congruous to that of a social networking website where they can discuss the stuff regarding their subject with peers from diverse regions. Students can fix the schedule and pace of their learning. This imparts a great liberty for professionals and people who have other commitments. It gives them an international exposure and connections with experts in the subjects of study from all over the globe. However, one cannot disregard the disadvantages of online educa tion while planning to step into it. The portal of the Montgomery College, Maryland which is a famous online education center describes the demerits of online education. According to them, online courses are more time-consuming than on-campus classes. Here the interaction with the instructor is virtual in the practical sense. The communication takes place either through fingers, that is, by typing or through webcams. Both increase the time required for learning procedures. There is a possibility for students to procrastinate learning if they are pursuing online courses because the schedules are flexible. This puts the very concept of ‘proper learning’ at doubt. Such courses appeal for time-management skills of the students deeply and may invoke a sense of isolation in them. There are no restrictions posed on the learner, which in one sense may sound as a positive aspect, but it can eventually turn out to be an ill-effect because there is a chance that the learner drop o ff from the learning and concentrate on other activities which can adversely affect his/her results. The service that students receive from their instructors ends in gaining the subject knowledge wherein lack of guidance, methods of study, planning etc. occur (Montgomery College). There are various technical requirements also that one has to consider while going for online education. The unavailability of any of these resources can badly affect the progress in learning. Gary W. James, a corporate trainer at Allen Communication describes this aspect. According to James, limited formatting of content in most of the browsers of today is a menace in online learning. Limitations in bandwidth, web browser and even the system configuration can inversely affect learning as graphics; videos, sounds etc form an important part of online learning. Time required for downloading the course materials sometimes goes to large extents. Assessment and feedback regarding students take place rather rare ly. According to James, most of the online courses of today are comparatively less interactive (2-3). Lisa Kirtman of California State University, Fullerton conducted a deep comparative study regarding the learning outcomes of online education as well as in campus education. She says that there had been a steadfast increment in the number of students

Habeas Corpus and the War on Terror Essay Example for Free

Habeas Corpus and the War on Terror Essay In this paper I will be diving in to the history of Habeas Corpus and how it has evolved over the years. I will briefly explain the origination of the habeas corpus, the role it plays in U. S. A and what current action is being taken about it. I will be also looking in to the Bush administration and the way they dealt with habeas corpus. The original purpose of habeas corpus was to bring people into court rather than out of imprisonment and by the year 1230, the writs utility for that purpose was a well-known aspect of English common law. Known as the Great Writ, its codification into English law came by way of Parliament in the Habeas Corpus Act of 1641, created in response to the King of Englands actions during what is now referred to as Darnells Case. In Darnell, five English noblemen were thrown into the castles dungeon deep for failure to support their countrys dual wars against France and Spain. The men filed suit, requesting the King provide an explanation as to their imprisonment. King Charles refused, on review; the court upheld the monarchys steadfast silence, stating that the law did not require the King to provide any justification for their detention. The public outcry against this decision was deafening, prompting Parliamentary action the following year. Parliament expanded habeas rights several years later with the Habeas Corpus Act of 1679, additionally requiring charges to be brought within a specific time period for anyone detained for criminal acts. By 1765, habeas corpus was firmly imbedded within the foundation of English law, as noted by William Blackstone, who described the Great Writ as a second magna carta, a stable bulwark of our liberties. This fundamental English right successfully traversed the Atlantic Ocean when our founders incorporated the doctrine of habeas corpus into the U. S. Constitution. As stated, The privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it. Known as the Suspension Clause, this provision specifically places the ability to suspend habeas corpus in the hands of Congress only during times of rebellion or invasion. Despite the clarity of the clause, the American debate on habeas corpus only begins at this point. The Great Writ of habeas corpus has long had an iconic status as the writ of liberty which ensured that no person could be detained in prison without being put to trial by a jury of his peers. According to the traditional version, popularized by Whiggish constitutional writers from the late seventeenth century onwards, the English constitution as embodied in the common law had, since time immemorial, striven to protect the fundamental rights of Englishmen and women, which included the right to personal liberty obban, M. Halliday, P. D. (2011). Habeas Corpus is an ancient common law prerogative writ a legal procedure to which you have an undeniable right. It is an extraordinary remedy at law. Upon proper application, or even on naked knowledge alone, a court is empowered, and is duty bound, to issue the Extraordinary Writ of Habeas Corpus commanding one who is restraining liberty to forthwith produce before the court the person who is in custody and to show because why the liberty of that person is being restrained. Absent a sufficient showing for a proper restraint of liberty, the court is duty bound to order the restraint eliminated and the person discharged. Habeas Corpus is fundamental to American and all other English common law derivative systems of jurisprudence. It is the ultimate lawful and peaceable remedy for adjudicating the providence of liberty’s restraint. Robertson. J, (2002). After the attacks of 11 September 2001, came the war in Afghanistan followed by the war in Iraq: a two-pronged engagement collectively known as the Global War on Terror As U. S. rmed forces captured enemy combatants by the M35 truckload, the Bush administration pondered how to systematically detain such persons in a manner that would provide adequate detention while maintaining intelligence-gathering capabilities vital to the war efforts. The answer was found on the island of Cuba: Guantanamo Bay. U. S. naval forces have occupied this site since 1903, and it seemed to provide the perfect solution. Relying on the Courts previous precedent in Johnson v. Eisentrager, govemment officials believed that keeping enemy combatants outside the realm of U.  S. territory would preclude such individual’s filing, among other things, claims for habeas corpus review. The govemments legal position was tested almost as quickly as the detainees arrived. Beginning in 2002, the United States transported captured enemy combatants to the area of Guantanamo Bay known as Camp X-Ray. Applications for writs of habeas corpus by Guantanamo detainees were made as early as February 2002. In Coalition of Clergy v. Bush, the U. S. District Court for the Central District of California first approached this issue in line with govemment expectations. Relying on Johnson v. Eisentrager, the court held that several U. S. citizens under the Coalition of Clergy, Lawyers, and Professors who had filed show cause petitions on behalf of enemy combatants held at Guantanamo Bay lacked standing to assert claims on behalf of the detainees. The court further concluded that, even if petitioners did have standing, this court lacked jurisdiction to entertain those claims. Moreover, the court found that no federal court would have jurisdiction over petitioners claims, so there is no basis to transfer this matter to another federal district court. Because Guantanamo Bay remained outside U. S. sovereignty, the case closely mirrored that of Eisentrager As a result, the United States failed to maintain jurisdiction and the court dismissed the petition. In response to the terrorist attacks of September 11, 2001, Congress passed the Authorization for Use of Military Force which grants the President power to use all necessary and appropriate force' against all who either participated in any way in those attacks or gave refuge to those who participated. Under this authority, the Department of Defense ordered several enemy combatants to be transferred to Guantanamo Bay for detention. In Hamdi v. Rumsfeld, a plurality of the Court recognized that the ability to detain individuals engaged in armed conflict against the United States was so fundamental and accepted an incident to war as to be an exercise of the necessary and appropriate force Congress has authorized the President to use. Notwithstanding this explicit sanction of detention, the Court held that the citizen-detainee seeking to challenge his classification as an enemy combatant must receive notice of the factual basis for his classification, and a fair opportunity to rebut the Governments factual assertions before a neutral decision maker. The Court suggested that this could be done by an appropriately authorized and properly constituted military tribunal. Pond, B. C. (2009). The rationale for the U. S. detention policy derives from the Bush administrations comprehensive military order issued on November 13, 001, which is intended to govern the Detention, Treatment, and Trial of Certain Non-Citizens in the War against Terrorism. Purportedly modeled after a proclamation and military order issued by President Franklin Delano Roosevelt during World War II, President Bushs military order limits the use of military commissions to any non-citizen for whom the president determines: is or was a member of al Qaeda, has committed, aided or abetted, or conspired to commit terrorist acts, or has knowingly harbored one or more of these individuals. Several months after the issuance of this military order, the administration began using the term enemy combatant to describe those subject to detention and trial by military commission. The administrations definition of enemy combatant, however, has varied over time. The administration sometimes uses the enemy combatant label as a term of art to describe a new and unique category of combatant in the post 9/11 world. On other occasions, the administration uses the term generically to describe what traditionally has been called lawful and unlawful combatants, while at other times the term is used synonymously with unlawful combatants. According to this definition, the term enemy combatant is not limited to war combatants alone, but includes anyone who has aided terrorist organizations fighting against the United States, including those who may have unwittingly given financial support to al Qaeda. The Joint Chiefs of Staff issued a slightly different definition of enemy combatant on March 23, 2005. According to Joint Publication 3-63, entitled Joint Doctrine for Detainee Operations, the term enemy combatant describes a new category of detainee and includes, but is not necessarily limited to, a member or agent of Al Qaeda, Taliban, or another international terrorist organization against which [the] United States is engaged in an armed conflict. Staab, J. B. (2008). Conclusion The premise behind habeas corpus as stated is to bring people into court rather than out of imprisonment. However in my opinion, during the Bush administration, they found a way around this law so as to not have to give a trial. While I want justice like the next person, I would not like to be in a situation where I am being held under the pretence that I a criminal without evidence or a trial. I am not saying that the people held were/are innocent, but I can’t help but to think we cannot be sure. I think that capturing these people were also done out of revenge and thus not urging anyone to think of their right. The 9/11 attack was gut ranching and frankly something I never want to experience again, so I do understand the need to talk less and carry a big stick. From an honest stand point, after 9/11 I was scared to do anything, while I am of no Middle Eastern decent, I look like an Indian person from India, that meant no one ask you where you are from when they look at you suspiciously. Even with all the rights I have in the U. S. A if I was suspected of being suspicious and someone higher and more powerful said that I had dealing with terrorists activities, no one will honestly believe me because of the way I look. Bring me to my point that without a trial we cannot tell for sure of the people being held in Cuba was innocent or guilty without a trail.

The Death of the ‘Authorlessness Theory’? Essay -- Essays Papers

The Death of the ‘Authorlessness Theory’? Let’s face it. Can one fully buy into Roland Barthes’ claim that â€Å"The birth of the reader must be at the cost of the death of the Author†? (172). Even if â€Å"it is language which speaks, not the author† (168), an author is responsible for the creation of a unique sequence of words in a novel, a poem or an article. The canvas on which freeplaying signifiers paint themselves seems so vast to Barthes that â€Å"the writer can only imitate a gesture that is always anterior, never original† (170). His claim, when taken at face value, is equivalent to saying that since paint exists, there can be no Painter. But it would be a faux pas give his idea such a naà ¯ve reading—a reading strictly limited to written texts. When applied to projects such as Group art, music and film, his theory gains greater validity. Three such works that illustrate the complexities of authorship are Judy Chicago’s The Dinner Party (1979), Gr am Parsons’ second solo album, Grievous Angel (1974), and the 1939 MGM film version of The Wizard of Oz. Adding to Barthes’ idea proposed in â€Å"The Death of the Author† will be discussions of Michel Foucault’s â€Å"What is the Author?† and Andrew Sarris’ auteur theory to understand the complexities of claiming authorship. These examples will show that the Author is a construct that might not disappear as quickly as Barthes and Foucault had anticipated. A discussion of The Dinner Party group project is an excellent starting point to explore definitions of â€Å"The Author† and authority. First, to what extent can fine art be authored (or rather, can a non-text be authored)? Second, who should receive credit? A simple dictionary definition of â€Å"author† will contain ... ...e of MGM—and the Miracle of Production #1060. Special 60th Ann. ed. New York: Hyperion, 1998. Jones, Amelia. â€Å"Sexual Politics: Feminist Strategies, Feminist Conflicts, Feminist Histories.† Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History. Ed. Amelia Jones. Berkeley: University of California Press, 1996. 20-38. - - - . â€Å"The ‘Sexual Politics’ of The Dinner Party: A Critical Context.† Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History. Ed. Amelia Jones. Berkeley: University of California Press, 1996. 82-118. MacDonald, Ian. Revolution in the Head: The Beatles’ Records and the Sixties. Rev. ed. London: Pimlico, 1998. Rushdie, Salman. The Wizard of Oz. London: BFI Publishing, 1992. Sarris, Andrew. The American Cinema: Directors and Directions 1929-1968. New York: Da Capo Press, 1996.

Essay Notes for Horace’s Odes

Vile potabis modicis Sabinum / cantharis, Graeca quod ipse testa / conditum levi? [You will drink an inferior Sabine wine from small cups, which I put into a Greek jar having sealed it]? (Odes 1. 20. 1-3). How apt is it to describe the Odes as ‘Sabine wine in Greek jars’? Unity and design in Horace Although examples og greek lyric metre can be found in horace’s odes, the most striking parallelism perhaps is the way both collections open. ?P12: Horace the champion of aurea mediocritas? Horace shares the Hellenistic poets familiarity with many methods of arrangement and metre but he doesn’t really on any of them exclusively. Modern poetic sequence by ML Rosenthal and Sally Gall? Keat’s Odes by Helen Vendler? Horace a successful satirist and the adapter into Latin of the iambic spirit of Archilochus and Hipponax. His Odes purported to revive the Greek lyrics poets. P14 For all intents and purposes, however, lyric had been dormant for hundreds of years w hen Horace decided to transfer it to an intractable language and an alien culture. ?His odes have a diversity of metres adressees and themes – an elaborate attempt to place the does both within Horace’s oeuvre and within a larger poetic tradition.P19: Displays nine different meters and this diversity is reinforced by variation of theme and addresse. The metres establish Horace’s affliation with Greek lyric and serve to set Horace apart from that tradition. They were use by and even named after Horace’s Greek predecessors. P21: A lyric poem was a poem composed in one of the metres traditionally associated with the lyre (23) Horace himself in the last ode of this collection and in a later epistle, retrospectively defined his own poetic achievement in largely metrical terms.It is essentially an attempt to recreate the wonderful immediacy of Greek lyric but the actual conditions of performance had so changed by Horace’s time that the address often func tions as a metaphor for the reader. ?DElveloped with constant reference to Greek models. Having set the Odes apart from his pwn earlier satires and from his Greek predecessors in lyric, HOrav explores their status with reference to one other important genre, epic. P27: Horace used the conceir in his very last ode 4. 15 which disclaims any ability to write heroic epic. =When I wished to sing of wars and conquered cities, Phoebus stuck his lyre to warn me not to spread my sails on the Tyrrhenean Sea. (1-4) P34: As a literary apology, this and other recusationes ultimately go back to Callimachus’ expression of literary preferences in the prologue to his Aetia. In that work C contrasted the thundering Zeus whom he could not imitate with the restrained and restraining Apolla, the fat sheep with the thin (leptalehn) Muse Apollo. ? Traditions and Contexts in the Poetry of Horace, edd. Tony Woodman and Denis Feeney (reviewed by Charles Witke, University of Michigan). Cambridge Univer sity Press 2002.Tony Woodman likewise confront the lyric Horace with predecessors in this case Catullus and Greek lyric. Horace’e references to Aeolian or Lesbian poetry are to be contrued to include Sappho as well as Alcaeus. ?RGM Nisbet addresses detailed and learned criticism to Odes 3,21, the wine jar.? Alessandro Brachiesi (47)‘ Viewed thus, the poem is a meditation on the unique status of Rome vis-a-vis Greek culture, as well as a self reflexive utterance about the position of poetry in Roman society. ’ What does this quotation mean Clearly metaphorical. The components represent: Sabine wine symbolizes Horace’s poetry and it does this in two ways.First, wine is a good symbol for Horace’s Odes because wine is a common topic of the poems and an integral part of the Epicurean philosophy he espouses (refs). Sabine wine in particular is a country pleasure which at its mention makes comment on the relaxed country life which his philosophy endorese. Second, in this instance, juxtaposed with the Greek jars, the adjective Sabine is clearly has an identity to both Italy as a whole and more specifically to Horace’s own farm, gifted to him by Maecenas, the explicit addressee of Odes 1. 1 (refs). ‘Sabine wine’ is thus indicative both of Latin poetry and specifically Horace’s lyric poetry.In this way also, the word ‘Sabinum’ is also a form of praise to his patron Maecenas (the main theme of 1. 20) as they will be drinking the Sabine wine transferred to jars on the estate which Maecenas gave to Horace. The use of the adjective vile to describe the Sabine wine on line 1, further signifies their friendship as it demonstrates Horace’s confidence that Maecenas can rise above pomp and luxury (note modicis – they will drink from plain cups and not engraved silver) and enjoy a simple friendship – a second philosophy Horace advocates with the mention of Sabine wine. ?As David West me ntions in his ‘Text,Translation and Commentary of Horace Odes 1, it is likely that Horace uses the Greek jars ‘to improve the flavor of his ordinary local wine’ (p96). In light of this the Greek jars element of the metaphor represents Greek poetry forms – the ‘containers’ of Horace’s poetry are the lyric forms developed by Greek writers such as Sappho and Alcaeus, which he adapts, improves and pays homage to in his work.? In sum, describing Horace’s poetry as ‘Sabine wine in Greek jars’ suggests that Horace is writing a distinctive form of Latin, Horatian poetry within traditional Greek structures.This is a reading which I think has considerable validity – indeed, the manner in which Horace comments upon and plays with the link between his own poetry and his Greek predecessors is not only striking itself, but can also be seen as part of a wider literary project in the first Century BCE, as Latin authors attempt to challenge and lay claim to the forms of their Greek influences. ?Why did they say it How accurate is it? ?Horace’s philosophy on life and wine? Odes: ?Wider project bringing Greek verse into Latin literature and to show off his educated knowledge of Greek place names/literature?Odes: ? Widely acknowledged that his Greek models were x y z ? Odes: ? Horace rejects the thought, expressed succinctly by Anchises in Virgil’s Aeneid, that the Greeks do literature and the Romans are famous in war. (6. 847-53) In his long prophecy Aeneas in the underworld. excudent alii spirantia mollius aera? (credo equidem), vivos ducent de marmore vultus,? orabunt causas melius, caelique meatus? discribent radio et surgentia sidera dicent:? tu regere imperio populos, Romane, memento? (hae tibi erunt artes), pacique imponere morem,? parcere subiectis et debellare superbos. Others (i. . Greeks) will beat out bronze so that it breathes in softer lines, so I indeed believe, and will bring ou t living faces from marble; they will plead their cases better, and will describe the wanderings of the heavens with the geometer’s rod and will speak of the surging stars: you, Roman, be mindful of ruling peoples with empire (these will be your arts); add civilisation to peace; spare the defeated, and war down the proud. ?Within project of 1st century literature – Virgil rewriting Homer in Latin, Lucretius writing Epicurus, Book 5 bemoans the latin language being inadequate. osmos and atomism termed in Greek. See those texts in the wider project of Augustus – big period of strife, aurea saecula – The golden age. Quinn, text and intro In the Odes it is the Greek lyric poets of the seventh century BC, especially Alcaeus, who provide the Greek model, but that model is made the vehicle of Roman themes, the attitudes expressed are those of a very distinctive personality moulded by a culture as remote from the culture of Sappho and Alcaeus as that which produc ed Virgil is remote from that of Homer.The Odes are set in the everyday life of a society which had recreated in Italy and in Latin, the ideals and cultural values of the Greek-speaking Hellenistic world. In place of simple, lyric directness of the Sappho and Alcaeus†¦ The Odes are a demonstration that poetry, which is neither didactic not ostensibly serious in tone can be the expression of a philosophy of life. The context most often is that of everyday social life in that section of urban society which had the leisure to devote itself to a life of wine, women and song. To make these themes the basis for a Roman recreation of the traditional forms of lyric..The simple, intense emotions of early Greek lyric match the simple syntactical perfection with which they are expressed and the culture of which they are a product. 1. 6? Patriotic epic praising the greatest solider of the age which includes a compliment to Augustus at the centre point of the poem. In this poem, Horace plea ds his incapacity to meet the expectations of the expectations of his patron and suggests the name of another poet who could do it better. This polite ‘recusatio’ is common in Latin and Greek literature and echoes the practise of one of Horace’s Greek lyric poet models, Callimachus (p28 in D. est) ? Trends of a recusatio 😕 – flickers of seriousness to wit. Self mockery – (potens vetat – Horace’s powerful Muse refuses but her power is only over the lyre). She/Horace know their limitations and strengths.? — contrast between sublime and slender (tenues grandia – the modest plea of incapacity and suggestion that Horace’s friend Varius could do it better).? — Parodies of the Iliad and Odyssey in the second stanza ( this is the sort of mess Horace would make of it if he were to write an epic). Epic diction also – Horace showing off his mastery. — Reference to him intending to write love poetr y in the last stanza of the battle.? 1. 6: I, Agrippa do not try to sing these things nor the heavy anger of Peleus’ son who did not know how to yield not the hourney through the sea of tricky Ulysses nor the ruthless house of Peolops, since I am too slender for grand themes while shame and the Muse who has power over the unwarlike lyre forbid me to wear out your praises and Caesar’s with my lack of talent. H rejects heroic subjects and modes on the grounds of inability.He proves his point my deliberately botching epic in his catalog of rejected topics where the divine wrath of Achilles, the (mhviv) of the Iliad is cut down to cholic stomachum and the Odysseus’ richly associative Greek epithet (polutropos) much travelled/experienced/suffering. wiley is mis translated by duplicis tricky. The 4th stanza where he seems more successful in the heroic style is is signif that his list of epic topics are posed as a question, who can sing of these? Not me. The final vers e announces convivial and erotic poetry as an alternative to these impossible heroes.? 7-20 – we sing of banquets we sing of battles carried on by maidens attacking youths with their cut nails. = heroics of a personal and private term. 1. 7 Opening lines takes the form of a priamel. ?Catalogue of Greek cities: Rhodes, Mitylene and Ephesus are three of the wealthy Greek cies which Romans would have visited while engaged in political or military duties. ?In 5-8, the focus shifts to Athens and to literature and the tone becomes sardonic. The one task of these poets is to celebrate the city.Horace talks about the Greek’s perpetuo carmine which associates these writers with writers of long old fashioned epics. Some will like Rhodes, (etc) but I prefer Tibur. This activity is defined even more precisely as the phrase carmine perpetuo is a translation of Callimachus’ aeisma dihnekes, a technical expression for long, continuous poetry. Horace is then distancing himself from such poetry and so the first part of the ode is consistent with the recusatio. (p36 unity) The olive they ostentatiously wear (praeponere) is the emblem of Athens.In the third stanza also, these cities are the homes of the leaders of the Greek expedition to Troy in the Iliad – Argos the home of Diomede, Mycenae of Agammemnon – each provided with a translation various of its stock epithet. H makes fun of long epics on Greek mythology and at writings in praise of Greek cities. Then he turns to Italy and against the Greek places famous for their temple of Artemis and shrines of Olympian Gods, Horace sets the local cults of Tibur (east of Rome in the Sabine Hills). An attempt to set Italian deities above those of the Greeks and an Italian town over the place names of Greece. One attempt to echo the desire of Augustus to reproduce the glories of Greece and to excel them. With Poetry amongst these glories, Horace endeavours to do this. =1. 7: First half of the poem reca psulates elements of the recusatio. The Catalogue of famous Greek cities of which are surpassed by the Ilatlian countryside around Tibus. Horaces interest is geographic and literary – the cities mentioned are all sites of heroic myths.? He initially denies that he will compose epic but then exploits that genre for his own purpose. 1. 6 announced a program for lyric as opposed to epic and 1. 7 and 1. which enacted that program by domesticating epic material in the service of conviva and erotica respectively. 1. 19 comes as a climax or culmination of this sequence as it reunites both lyric themes in a single poem and because it is written in the Alcaic meter. (p41) the postponement of the Alcaic to the final emphatic position in the Odes is surely honourific. UNilke so many of the odes that precede it, it makes no obvious epic allusions and reworks no epic themes for there is no longer any need to do so. The dialectiv beterrn lyric and epic that was carried out in the Parade Od es has finally been resolved. 1. 8Rome in the age of Horace was a Hellenistic city, interpenetrated by all forms of Greek culture. To ask whether a poem of part of a poem is Hellenistic or Augustan is a waste of time – by its very nature, Augustan includes Hellenistic. 1. 9 ‘four year old Sabine wine’. This ode describes the house near the mountain accompanied by a long fire – another county pleasure as is the Sabine wine. Horace uses Greek words, no where else seen in extant latin literature. When the slave in 1. 9 is called Thaliarchus, Greek for ‘lord of the feast’ the four year old wine in a two handled cup (diota), there are two clear examples of this.Horace is perhaps hinting that here in the Italian landscape with Italian wine he is enjoying a symposium, a Greek drinking party, as lyric poets such as Alcaeus onwards had done. He is theref once again claiming his place as a Roman the great lyric poets of Greece. (Fragment of Alcaeus frag 338 – p42 dw) 1. 20 Other Points of praise for Maecenas? 1. 26 ‘To sanctify this Larnia by a new lyre and by a Lesbian plectrum’. = The new strings (not the Greek lyre or the cithara but the Latin fides beside the Greek plectrum demonstrate that Horace has accommodated Greek music to Latin measures. . 32 In Ode 1. 32 Horace’ kletic poem addressed to the lyre: (he expresses his plans for his verse appealing to Apollo’s lyre for inspiration, with the expectation that they are worthy to be accompanied by Apollo’s lyre. 1) ‘age, dic, Latinum, barbite, carmen’/ ‘Lesbio primum modulate civi’ ? = 2) Reference to one of his Greek models, Alcaeus. ?= Alcaeic poetry in Sapphic metre. ?= Stanza III summarises some of Alcaeus’ subject matter (canebat Liberum – singing to Bacchus drinking songs, songs in praise of Venus’ muses and puerum, cupid – about love homo and hetero).All of which are themes tha t can easily be indentified in Horace’s Odes. Trying to identify himself as the successor of Alcaeus. 1. 38 Horace loves the simple life 3. 1 Why should I change my Sabine valley, for the heavier burden of excess wealth Thus Horace concludes by stating that he would not exchange his peaceful, if humble, Sabine valley for â€Å"the greater burden of wealth† 3. 3 I have created a monument more lasting than bronze? and loftier than the royal structure of the pyramids,? that which neither devouring rain, nor the unrestrained North Wind? ay be able to destroy nor the immeasurable? succession of years and the flight of time.? I shall not wholly die and a greater part of me? will evade Libitina [Goddess of Death]; continually I,? newly arisen, may be strengthened with ensuing praise so long  ? as the high priest climbs the Capitoline with the silent maiden.? It may be said that where the raging Aufidus roars? and where, short of water, Daunus ruled his rustic people,? power ful from a humble birth, I first brought Aeolian verse? to Italian measures. Assume the arrogance  ? sought for by those who have a claim to recognition,  ? nd with the Delphian laurel,? Melpomene, willingly crown my head. Epistles 1. 20 http://www. jstor. org/pss/638992 Horace: Odes and Epodes Edited by Michele Lowrie, Horace and the Greek Lyric Poets – Denis Feeney p202? At the end of his first odes he voices the hope that the reader of his collection would insert him into the canon of the Greek lyric bards (1. 1 and 1. 32). Alcaeus and Sappho were amongst the nine lyrics poets in the canon. (between 650 and 400 BCE)? At times, Horace’s audacity is marvellous and we cannot always be sure of the poet’s intent.Unity and design in Horace’s Odes  By Matthew S. Santirocco The Parade Odes: The Poetics of Initiation Horace’s acknowledged models, Alcaeus and Sappho composed rather early in the period. Epistle 1. 1 purports to abandon versus et cete ra ludicra ‘verses and other playthings’ (10) it is looking back to the body of lyric that preceded it. ?The nymphs, satyrs, muses and thertraditional elements of the scene point to the Greesources of Horace’s inspiration. The Lesbian lyre, Lesboum barbiton (34) further specifies these as Sappho and Alcaeus. Horace: Behind the Public Poetry. By R. 0. A.M. LYNE. Review by Ellen Oliensis (1) HONOURING HORACE Review by (2) S. J. HARRISON (ed. ): Homage to Horace. A Bimillenary Celebration. Pp. x + 380. Oxford: Clarendon Press, 1995. Cased. R. CORTEZ TOVAR, J. C. FERNANDEZ CORTE (edd. ): Bimilenario de Horacio. (Acta Salmanticensia, Estudios Filologicos, 258. ) Pp. 431. Salamanca:E dicionesU niversidadd e Salamanca,1 994. P aper. R. O. A. M. LYNE: Horace. Behind the Public Poetry. Review: Some Recent Perspectives on Horace Author(s): David Armstrong (3) The Epodesa re treatedb y L. C. Watson, â€Å"Horace'sE podes:t he Impotence of Iambos? , which admirably discusse s the conventions of the poems' archaic and Hellenistic models-a topic which needs more study still. Margaret Hubbard contributes a piece on the Pindaric background of Epist. 1. 3 which offers among many other good things a palmary note on frigida curarumfo menta (26) as a reflection of several passages of Pindar Review – Horace Book 1 – NH (4) 204: Yet while admitting that Horace was a very literary poet the reader may think that he might get a little more credit for independence than he does here. The apparently original theme of i. and iv. 7 is attributed to Hellenistic sources which have not sur-vived. The hints of a love interest in II come, it is suggested, from a lost Greek prototype, and in the same poem Horace is not even given the credit for the Tyrrhenian waves (‘derived from some Greek commonplace'). On 13. 18 f. it is stated that ‘Horace is no doubt imitating the phraseology of some Greek poem'; and the lost Hellenistic poem is again invoked in connection with dulce loquentem (22. 24), unnecessarily, it would seem, in view of Sappho's 38v wv†¢Elaas, which of course the authors quote. 06: The opening section of the introduction provides an admirable summary of the characteristics of the Horatian ode. It deals with Horace's models and other literary influences, emphasizing his unacknowledged debt to Hellenistic poetry, in particular to Callimachus; with the different categories of ode, convivial, erotic, hymnic, political; with the various themes, Horace's own poetry, the country, friendship; with his style, prosaic and down-to-earth; and, briefly, with structure and the arrangement of the poems within the book.We are warned against interpreting the poetry in the light of preconceptions about the author's personality. Review: Recent Studies of Horace's Odes Author(s): A. J. Woodman (5) MATTHEW S. SANTIROCCO: Unity and Design in Horace's Odes. Pp. X + 251. Chapel Hill and London: University of North Carolina Press, 1986 . ?24. DAVIDH . PORTER:H orace's Poetic Journey:a. Readingo f Odes 1-3. Pp. xiv+281; 9 diagrams. Princeton University Press, 1987. ?22. PETER CONNOR: Horace's Lyric Poetry. the Force of Humour. (Ramus Monographs, 2. ) Pp. x+221. Victoria: Aureal Publications, 1987.Australian $24. S devotes most of his book to discussing all poems in Odes 1-3 in order of their appearanceT. he parade odes are programmatic neither in their metres (two of which neverr ecur) nor in their addressees (who are relatively more important than the average)t;h ey are chosen to identify H. ‘s place amongst Greek lyric predecessors (Catullusf'a vourite metre being conspicuous by its absence) and their number suggesttsh e canon of nine into which H. desires insertion (1. 1. 35 inseres). Review: D. WEST: Horace Odes I: Carpe Diem. Pp. xiii + 203. Oxford: Clarendon Press, 1995. untitled] Author(s): F. Jones (7) t-addresseer elationshipin 1. 9, 1. 11,a nd 1. 38,t he possibler elevanceo f Octavian's sejao urney from Samos to Brundisiumt o 1. 14, and the idea that Venusi s like a strokeo f lightnining 1. 19. 9. I n this Ode W. guessest hat the wine is Sabine( p. 95) on the basis of the beginninogf the next Ode:e lsewhereh e commentso n the use of inter-poemc ontactsa t a more generlaelv el( p. 44, p. 84). The Function of Wine in Horace's Odes Author(s): Steele Commager Source: Transactions and Proceedings of the American Philological Association, Vol. 88 (1957), pp. 8-80 Published by: The Johns Hopkins University Press 68: Libera vina is designated as one of the four traditional subjects of lyric poetry (A. P. 85), and it is ine's liberating effect which seems to have struck Horace most forcibly. 75: â€Å"Did Horace Woo the Muse with Wine? â€Å"‘6 Although the love affair – that with the Latin language itself – is the only one we can be sure was real, Horace seems to have neglected the poet's traditional enticement to his heavenly mistress.? =16 Such is the sub-title of an article by A. P. McKinlay, â€Å"The Wine Element in Horace,† CJ 42 (1946) 161-68, 229-36.See this article for an exhaustive treatment of the subject, and for referencest o works on specializedt opics. 79/80: Immortality is the dimension of an eternal present. Wine represents seizing of the present, a reedom from contingencies of past and future alike. 80: Wine, a verecundusB acchus (C. 1. 27. 3), promotes harmonious interchange among men: Bacchus, as god of poetry, symbolically enacts the poet's civilizing influence. Wine also represents a commitment to present life, a freedom from temporal delays: Bacchus suggests the poet's freedom from the temporal world itself, and his commitment to eternal life.Wine and the symposium by Gregson Davies (Cambridge Companion to Horace) p207-221 207: The collection of odes in Book 1 is framed by opening and closing poems that give prominence to the leitmotif of wine. Thus the dedicatory poem to his patron, Maecenas (Odes 1. 1), which presents the programme of the Odes as a whole, takes the rhetorical form of a priamel in which the climactic term features the poet-speaker’s choice of a Dionysian community of Nymphs and Satyrs dancing and singing together in a sacred grove and crowned with ivy (29–34).The main vocation championed by the speaker is the composition of lyric poetry in the tradition of Archaic Greek (Lesbian) lyric, but the setting is onsonant with the sympotic muse,since the presence of the Bacchic entourage is hardly conceivable without wine-induced ekstasis. 208: In the concluding ode of Book 1 (Odes 1. 38) Horace foregrounds the banquet wreath (corona) as an emblem for his lyric values (aesthetic and philosophical) in a dense poem that functions as a virtual thematic signature: Persicos odi, puer, apparatus, isplicent nexae philyra coronae; mitte sectari, rosa quo locorum sera moretur. simplici myrto nihil adlabores sedulus curo: neque te ministrum gregson davis dedecet myrtus, nequ e me sub arta vite bibentem. I detest Persian paraphernalia, my boy, wreaths woven on linden bark displease me; stop trying to track own those rare places where a late rose lingers on. Take care that in your zeal you work no extra ornament into the plain myrtle:myrtle is most fitting both to you, as you serve, and to me, as I drink, beneaththe dense vine.Since the last word of the poem (and the liber) is bibentem (‘drinking’), the poet leaves the reader with a self-portrayal that is clearly emblematic for the whole book. As illustrations of the former we may cite the hilarious ode addressed to the personified wine-jar (3. 21), and the short encomium of the vine (1. 18). Both of these poems operate as powerful metonymic references to the pleasures of the symposium, as their final scenes disclose – in the former case, Bacchus, Venus and the Graces are requested to be present at a prolonged symposium. 210: In the Soracte Ode (Odes 1. ) the person who controls the wi ne is given a Greek name that bespeaks his function, ‘Thaliarchus’ (‘ruler of the revels’). 211: Since the finest wines were, then as now, relatively expensive, the poet often proclaims his wish to savour the best vintages when accepting invitations to dine at the villas of the wealthy, such as his patron and friend, Maecenas. 213/14: That outlook is derived from two principal sources that coalesce in the Odes: the lyric ethos first expressed in robust form in the archaic poetry of Archilochus (and elaborated in Lesbian melic verse), and the Hellenistic philosophy of Epicureanism. 14: Horatian wisdom (sapientia and its cognates are frequent in his lyric discourse) takes the shape of an enlightened hedonism in which the spectre of mortality serves as foil for the valorisation of the pleasures of the convivial lifestyle. The ode that famously encapsulates this view of sapientia in the terse phrase, carpe diem, merits a brief analysis (Odes 1. 11): The New Nis bet-Hubbard HoraceAuthor(s): Kenneth QuinnSource: Arion, Vol. 9, No. 2/3, Horace Issue (Summer – Autumn, 1970), pp. 264-273Published by: Trustees of Boston UniversityHorace the DualityAuthor(s): Grant ShowermanSource: The Classical Journal, Vol. 6, No. 6 (Mar. , 1911), pp. 244-251Published by: The Classical Association of the Middle West and South 244: There is a Horace of ordinary Italian manners and ideals, and a Horace of the higher culture of Rome and Athens; a more natural Horace, simple and direct, and a less natural Horace, clothed upon with the artificialities of life in the capital; an unconventional and a conventional Horace. 244/245: And yet, whatever his liking for the city and its artificialities, his real nature called for the country and its simplicity.It is the Horace of Venusia and the Sabines who is the more genuine. Criticism has occasionally detected the note of affectation in some of the more formal compositions addressed to Augustus and his household; bu t the most captious critic will hesitate to bring such a charge against the odes which celebrate the life of the fields and hamlets of Italy and the prowess of its citizen soldiers of time gone by, or against the mellow epistles and lyrics in which the poet philosophizes upon the spectacle of human life. 45: The real Horace is seen with greatest distinctness when he sings of the beauty and fruitfulness of Italy. It is no land of the imagi-nation which he visualizes for us, nor yet a Homericized or a The-ocritean Italy, but the Italy of his own time, the Italy of his own birth and experience, and the Italy of today. 251: Among the results of Horace's urban experience, it is wholly natural that none should be more prominent than the influence of Hellenism upon his work.His debt to Greek literature is great. The metrical conveyance of most of his lyrics, many of the lyrics themselves, a wealth of literary ornament, much of the richness of his intellectual furnishing, and no small part of his sureness of taste and execution-all these Greece gave him, as she has given them to many others. But much of this is only a clothing upon of the real Horace by the artificial Horace of the literary coterie.There is the Hellenic Horace who experiments with Greek meter, draws heavily on Greek geography and Greek mythology, employs Greek nomenclature, stages Greek scenery, engages in labored imitation of the Homeric simile (always labored when it is not Homeric), or frankly translates and adapts Greek lyrics; and there is the more genuine Horace who employs the native trochee and iamb and the long-since naturalized hexameter, and lets Italian gods and heroes speak from Italian scenes, or in his own person discourses homely Italian wisdom, and is Greek in nothing but form even when his conveyance is sapphic or alcaic.The real Horace is an Italian poet, and a Roman. He is Italian by birth and experience, Italian in person, habit, and temperament, Italian in his love of Italy and h er life, and in his clear vision of her natural charms. He is Roman in his pride in Rome's past and present, in his faith in her destiny, and in the intimate relation of his art to life. His schoolmistress was Greece; the mother from whom he derived his powers was Italy; and his immediate inspira-tion was Rome.To call Horace Greek rather than Roman would be to be blinded to the essential by the presence of graceful form and a partial and after all not very great identity of matter. Horace's Debt to Greek LiteratureAuthor(s): W. K. SmithSource: The Classical Review, Vol. 49, No. 3 (Jul. , 1935), pp. 109-116Published by: Cambridge University Press on behalf of The Classical Association 109: Horace's imitation of Greek authors, where this imitation is conscious. 109: The state-ments, consisting often of single lines or sentences, he supposed to be trans-lated quotations from the Greek original, the comments which followed each being Horace's own.This arrangement is supported by the pre sence of several words which are obviously translations of Greek technical terms; the scholiast, in fact, quotes several of the Greek equivalents. Yet in many places the distinction between statement and comment does not seem to be definitely established; moreover a comparison with other pass-ages of Horace's works where quotations from Greek authors are out of the question shows that this method is only one of Horace's peculiarities of style. In Book I of the Epistles, for instance, a hypothetical sentence is most commonly introduced by a short statement, fter which follow the comments, also in the form of statements. 113: Since therefore Horace was compos-ing a work of the traditional Greek pattern, to the degree and in the direc-tions already discussed, its value as a practical textbook is somewhat altered, especially as some of the conditions had ceased to exist in Greece itself between the time of Aristotle and Neoptolemus, while account must be taken of the difference of circu mstances in Greece and at Rome. 113: Horace has drawn upon Greek sources. 14: The belief that the Ars Poetica was written about the same time as the First Book of the Epistles is confirmed by many similarities2 of tone and subject, such as the references to Homer, including paraphrases in both of the opening lines of the Odyssey. The most important passage to be con-sidered in this connection is the auto-biographical opening of the first epistle of the book, especially lines 10-12 : nunc itaque et uersus et cetera ludicra pono; quid uerum atque decens curo et rogo et omnis in hoc sum: condo et compono quae mox depromere possim. 14: It will be remembered that Quintilian draws a distinction be-tween Horace and Catullus, because, whereas the latter was a writer of simple iambi, Horace was a writer of iambi with the short line, the epodos, inter-vening. To each genre was attached the name of its Evbpe7r , the inventor, or the poet who first gained distinction in that mode. Among Latin w riters the same claim is made by those who first used the mode in Latin literature. Horace himself claims to be in Latin literature the ebperTrSo f Parian iambics,5 in the Epodes, and of Aeolian song,† in the Odes.In the latter case, the two Sapphic poems of Catullus are disre-garded. The second ode of the Fourth Book seems to show that he had con-templated the possibilities of becoming the Roman Pindar, but had wisely re-cognized that the task was beyond him, and, following his own precept,7 shouldered the load he could carry. = 4 A. P. 73 seq. SEh. I, 19, 23. 6 Od. III, 30, 13, and 3E. I, 19, 32. SA. P. 38. * v. 6o. 9 Sat. I, 1o, I9. 115: Horace's favourite method of utilizing Greek originals appears to consist of starting a poem with a line or two of translation, forming as it were a text, and then adding a Roman setting.Examples of this are to be seen in Odes, I, 18 and 37. In each case the opening words are borrowed from Alcaeus, with whose general out-look Horace can hav e had little sym-pathy. The advice just quoted does not evi-dently apply to single words and phrases; ‘uerbo uerbum reddere' would be a just description of his method of taking over several Greek compound epithets, such as 4peetaviq, which he renders by ‘bello furiosa ‘,3 and r-roXvdovvto9,wh ich becomes ‘multi nominis ‘. 4 Further, he claims for his generation the privilege formerly conceded of taking over actual Greek words, provided they are ‘parce detorta ‘. Several grammatical and syntactical usages also are ascribed usually to this kind of imitation. Most of the Greek lyric writers seem to have been imitated by Horace in the Odes, and no doubt, if a larger portion of their works had survived, the sources of many more themes would be identi-fied. Such was Horace's familiarity with Greek literature that he had almost decided himself to write poems in Greek, had not Quirinus-or his common sense-dissuaded him. 6 Whereas in the Odes we are consider-ing a case of imitation direct of the Greek authors. = 3 Od. II, I6, 5. SOd. III, 9, 7. 6 A. P. 3. 6 Sat. 1, 1o, 31. 116: The ancients in general considered that, so far from a poet being better for originality of subject matter, usually imitation led to the display of greater creative skill. Finally, there is in Horace some of the same nationalistic spirit which is found in the introductions to Cicero's philosophical works. Just as Cicero believed that most of the subjects treated in Greek could be handled equally well in Latin, so Horace felt that his countrymen were in many spheres of writing as fully endowed with talent as the Greeks, if only they would use their talent well.Study of Greek methods would show how they could be equalle! : in their own fields. Horace and His BimillenniumAuthor(s): Willis A. EllisSource: The Classical Journal, Vol. 28, No. 9 (Jun. , 1933), pp. 643-656Published by: The Classical Association of the Middle West and South 646: And Horace, like Vergil, takes us to the country. Vergil sings – and sings beautifully – of the farmer's life, but he has not the personal touch of Horace. Horace is himself a part of his country scenes.We cannot think of the Sabine farm without thinking of him. 647: To his friend Quinctius he describes his farm in some detail and with evident pride and fondness, but his feeling for it he best sums up in the words addressed to his caretaker – â€Å"the little farm which makes me myself again. † 649: If I should name my favorites, my list would be very much like other lists made by admirers of the poet. He has borrowed the Greek measures, he has borrowed Greek decoration, but the poems are Roman. The Greek Muse speaks Latin. 56: Whatever his weaknesses or shortcomings, Horace had quali-ties that compel our admiration. â€Å"On some Greek Lyrical Metres;† Professor Malden. Transactions of the Philological Society Volume 1, Issue 1, pages 10–28, January 1854 ht tp://onlinelibrary. wiley. com/doi/10. 1111/j. 1467-968X. 1854. tb00764. x/abstract The first line of Horace's Ode to Varus is a mere translation of a line of Azcseus in the same metre, pq8hv ;no +uret;qq rrp6repov 8&8peov & p d h . Horace fully exploited the metrical possibilities offered to him by Greek lyric verse. Bibliography:

English language Essay

Why choose Westminster Kingsway College? Our central London location: courses take place at our Victoria Centre which is a five-minute walk from Victoria mainline and underground stations Our facilities and resources: the centre has a very well-equipped Learning Centre with IT facilities and an extensive range of teaching and learning materials Our online Virtual Learning Environment ‘Moodle’: this allows access to a range of support materials on your home PC Our experience: we have been running teacher training courses for over 25 years and have a well-deserved reputation for extremely high quality, effective teaching Our training team: we have a large team of highly-qualified and experienced teacher trainers. They have all worked in the public and private sectors in the UK and overseas and some are CELTA assessors. You can find out more about them in the â€Å"Trainer Profile† section Our quality assurance systems: in addition to external monitoring by Cambridge, we are part of the public sector and are inspected by OFSTED Our success rates: we have a proven track-record of extremely good pass rates on all our courses The level of individual attention we offer: our trainers are involved at every stage of your course, from initial enquiry to post-course advice and guidance The profile of our teaching practice groups: our students are highly motivated and come from a very wide variety of linguistic, geographic and social backgrounds. Some are asylum seekers and refugees whilst others are living and working in London for a relatively short time. This mix of students means that your teaching practice gives you experience to equip you to teach in a range of contexts in both the private and public sector in the UK or overseas. It also helps you decide which sector you would prefer to work in Extremely high level of trainee satisfaction: see â€Å"What CELTA did for me† for comments from past trainees Advice and guidance on employment opportunities: all our courses include sessions on finding teaching work, and some of our candidates go on to work in Westminster Kingsway and other colleges If you have any questions, or would like to discuss your application, please contact one of our trainers on 020 7802 8940 / 8343 / 8378. The College is closed over Christmas, Easter and during the summer holidays. During these times, you will hear a voice-message giving you further information.3 About Westminster Kingsway College: Teacher Training Westminster Kingsway College’s Teacher Training courses are based at the Victoria Centre, right in the heart of London, about 5 minutes walk from Victoria underground and main line station. In addition to Teacher Training courses, the College offers part-time day and evening courses in English/ESOL (English for Speakers of Other Languages). We are part of the public sector and receive government funding for our courses. This means that our fees compare favourably with other teacher training providers. Our facilities include a large cafeteria, a very well-equipped Learning Centre and computer access for all learners. Our Teacher Trainers All our team are qualified teacher trainers, with extensive experience of teaching EFL and ESOL in a range of contexts, both in the UK and overseas. The majority are also Cambridge-accredited external assessors. They are all directly employed by the College and regularly update their teacher training skills and expertise. Trainer Profiles Katerina Ashiotis: Katerina started her teaching career as an EFL teacher in the private sector in London soon after leaving college. She travelled, then taught in Greece for two years in a private school. She then returned to London and worked as an English teacher teaching adults full-time. She worked in three different private schools as an EFL teacher, Senior Teacher and Director of Studies and started teacher training in 1994. Katerina has a Diploma and an MA in Linguistics and in 2002 completed a PGCE in FE (PCET with ESOL Specialism). Parallel to working and training in the private sector she worked as a visiting EFL lecturer at Westminster Kingsway College for over 12 years. She started working at Westminster Kingsway College full-time as an ELT lecturer and teacher trainer in 2002. In addition to the CELTA course, Katerina is also a teacher trainer for PTLLS and DTLLS courses. Most recently, she has been involved in the design and delivery of a number of training programmes for teachers from South Korea and Albania. Chris Brain: Following a degree in history and a PGCE at the University of London, Chris started teaching EFL in London in 1979. He then worked in Italy from 1980 to 1988 and took the RSA Diploma at International House in Rome in 1986. He returned to London in 1989 and subsequently trained as a CELTA trainer. He continued to work in the private sector, became a CELTA Assessor in 1992 and a DELTA trainer in 1998. Chris joined Westminster Kingsway College in January 2000 as a full-time member of staff and has worked on a variety of courses including EFL, ESOL, CELTA and DELTA. Michael Harmsworth: Michael began teaching in 1982 and became a teacher trainer in 1986. He has been at Westminster Kingsway College since October 1997. Before that he was Director of Teacher Training at two private language schools in London after spending a total of eight years working abroad, in Greece, Italy and Spain. In 1992 he became an Assessor for the CELTA course. Michael has an MA with Distinction in TESOL (Teaching English to Speakers of Other Languages) and the Cambridge/RSA Diploma with Distinction. He has delivered an extensive range of training courses at all levels. His current studies are focused on his obtaining Associate Membership of the British Dyslexia Association (AMBDA). Gabriel Mulcauley: Gabriel completed a degree in English Literature at the University of Sheffield followed by a PGCE in English and Drama at the University of Leeds. Her first experience of teaching English was in a Summer School in Greece. Having spent several years travelling and teaching in private language schools, Gabriel came to London in 1991 and took the Diploma in TEFL at Waltham Forest College in 1992. She began working in Further Education in 1994 at Hackney Community College before joining Westminster Kingsway College in 1998. Gabriel started training to be a teacher trainer in November 2004 and is enjoying this interesting new challenge. 4 Our English/ESOL courses and students Our English/ESOL courses are suitable for adult learners (19+) who are living in the UK either permanently or as refugees or asylum seekers and for European migrant workers. We offer a variety of courses to meet a wide range of needs. Some courses are more suitable for EU migrant workers and enable students to gain a qualification quickly. Others are more appropriate for students who need to catch up on other skills, such as basic literacy. All courses are part-time, either day-time or evening, and last either for one term or one semester (18 weeks). Students study either every day (Monday – Friday) or two evenings per week (Monday and Wednesday or Tuesday and Thursday). There are two study options on the daytime courses: ESOL Extra and ESOL Express. On ESOL Extra learners study for 2.5 hours per day and on ESOL Express they study for 2 hours per day. On the evening courses, hours are the same: learners study for 2.5 hours on two evenings per week. Qualifications All the courses lead to an examination: this is usually a Trinity Skills for Life Certificate. We offer these qualifications at 5 levels from Entry 1 (beginner) to Level 2. Students take an examination in Speaking and Listening, Reading and Writing. 5 The Certificate in Teaching English to Speakers of Other Languages: CELTA (incorporating the award in Preparing to Teach in the Lifelong Learning Sector: PTLLS) What is CELTA? CELTA is an initial qualification for people with little or no previous teaching experience. It is the best known and most widely taken initial ‘TESOL/TEFL’ qualification of its kind in the world. Who recognises CELTA? It is accepted throughout the world by organisations which employ English Language teachers. It has also been accredited by the Office of Qualifications and Examinations Regulation (Ofqual) at Level 5 on the National Qualifications Framework for England, Wales and Northern Ireland. Who is CELTA for? People starting a career in English Language teaching: The course will give you a firm grounding in the fundamentals of language teaching practice, and the confidence to use these effectively in the classroom. People looking for a career change or career break: An increasing number of candidates are professionals who would like a new career path or want to take a short break in their existing career, which may involve the opportunity to live and work abroad. People already teaching English but with no formal qualifications: You may already be teaching English but have no formal teaching qualifications. CELTA will help you improve your teaching, confirm your ability and may lead to internal promotion or a better teaching job. Who is eligible to apply? We recommend that candidates have a standard of education equivalent to that required for entry into higher education (normally 2 â€Å"A† levels and above). You will also need good numeracy skills. However, we are happy to consider applications from candidates who do not have formal qualifications at this level but who can demonstrate that they have appropriate language competence, skills, and experience. The course is open to both native and non-native speakers of English. If English is not your first language, you must have a command of written and spoken English that enables you to teach across a range of levels and complete the written assignments. In our experience, most successful candidates have English as their first language and are graduates. What does CELTA involve? The course is extremely demanding and requires a high level of commitment. You are required to attend the whole course, and complete homework assignments. You will have to devote a considerable amount of time to course work outside class hours, and we strongly recommend that you do not do any part-time work or other studies during the course. You should also be prepared to accept constructive criticism from your trainers and other trainees and be willing to reconsider your assumptions about teaching and learning. What does the course cover? The course aims to teach the principles of effective teaching and a range of practical skills for teaching English to adult learners. You will have hands-on teaching practice, observe experienced teachers and complete four practically-focussed written assignments. 6 There are five main units of learning: Unit 1: Learners and teachers and the teaching and learning context Unit 2: Language Analysis and awareness Unit 3: Language skills: reading, listening, speaking and writing Unit 4: Planning and resources for different teaching contacts Unit 5: Developing teaching skills and professionalism. How will I be assessed? You will be assessed throughout the course: there is no final examination. An external assessor, appointed by Cambridge ESOL, moderates each course. There are two components of assessment: Teaching Practice: You will teach for a total of six hours, working with classes at two ability levels. Assessment is based on your overall performance at the end of the six hours. Written Assignments: You will complete four written assignments: one on adult learning and learning contexts, one on an aspect of the language system of English, one on an aspect of language skills and one on classroom teaching and the identification of action points. Assessment and Grading Grading of candidates is by continuous assessment. There is no final examination. Successful candidates are awarded the â€Å"Cambridge CELTA† at one of the following grades: â€Å"Pass†, Pass â€Å"B†, and Pass â€Å"A†. On average, about 60% of our trainees achieve a Pass, 30% achieve a Pass â€Å"B† and 5% are awarded a Pass â€Å"A†. About 5% do not succeed. While everything on the course is taken into account, and you must complete the written assignments satisfactorily, the most heavily weighted factor is your teaching performance. You will receive written feedback, including an assessment of your teaching, on all the lessons you teach. You will have at least two individual tutorials to check that your perception of your progress agrees with that of your trainers. If there is a danger that you will fail, your trainers will make this clear and discuss where and how you can improve. We aim to be as clear and open as possible about your development. As part of the Cambridge scheme, every course is moderated by an external assessor, who visits the college for one or two days. In addition to checking that we are complying with course regulations, the assessor is available to listen to any points you or your group would like to make. If you feel that we are giving you unfair assessments, you can discuss this with the assessor. Applying for the course Selection to the course is based on an interview, lasting approximately two hours and a written task. Please complete the application form at the back of this booklet and submit it with your personal statement to the Course Organiser. You will be given the written task at the interview. 7 Frequently Asked Questions Is it a problem that I’ve never taught before? No. The course is an introduction to English language teaching. People who already have experience sometimes find it a drawback as it can be difficult to unlearn old habits and learn new techniques. I have got lots of presence, I know a lot about English and I am used to standing up in front of people and telling them things, so I am bound to be a good teacher, right? Wrong. The abilities to relate well and listen to learners are more important than an over-emphasis on â€Å"telling†. Does it matter if I miss any part of the course? Yes. 100% attendance is expected other than in exceptional circumstances. What happens if I am ill during the course? The Cambridge rules stipulate that if you miss more than 20% of the whole course or any of the 6 hours of assessed teaching practice, you are not eligible for the certificate other than in exceptional circumstances. Will there be much paperwork? You will be responsible for maintaining a portfolio of your work during the course and this constitutes your official assessed record. You will also need to be able to keep records and retrieve papers easily. I have never been able to spell properly: does it matter? Yes. Learners of English expect their teachers to be able to spell reasonably accurately. Also, Cambridge rules require candidates to be able to write in English that is â€Å"essentially free of errors†. Part of our interview process is designed to check this. Will I have to follow any particular methodology? Our aim is to provide you with a range of techniques and approaches which you will be able to select from. I have never learned grammar before: is this a problem? Many native speakers of English know little about the mechanics of their own language and are unconfident about teaching grammar. Part of our selection process is to check that you have the potential to follow the grammar component of the course. When I have completed my CELTA, what further teaching qualifications should I take? It depends on your career plans. If you intend to work in Further Education, the Cambridge ESOL Diploma in Teaching in the Lifelong Learning Sector will give you the qualification you need. If you want a qualification which has a more international bias, and if you are interested in developing your EFL career more broadly, the DELTA (Diploma in English Language Teaching to Adults) may be more appropriate. We do not currently offer the DELTA course at WKC. If I am successful in CELTA, can I take the Cambridge ESOL Diploma course immediately afterwards? We recommend that you gain at least 50 hours practical teaching experience before starting the Diploma. You will have to go through a selection process which involves an interview and completion of a task. Also, we can only accept you onto the Diploma course if you already teach, or are planning to teach, in the Further Education sector. 8 Useful Books There is no official reading list, but here are some useful titles: Methodology Learning Teaching, Jim Scrivener (Macmillan Heinemann). The Practice of English Language Teaching (4th edition), Jeremy Harmer (Longman). Grammar Practical English Usage, Michael Swan (OUP). Grammar for English Language Teaching, Martin Parrot (CUP). What CELTA has done for me? For many of our trainees, success on their course has led to some very positive changes in their lives. This is what two of them told us: â€Å"I was 51 when I did my CELTA course†¦ a bit old, and my only regret is that I didn’t do it 20 years earlier. My day job had become excruciatingly unbearable and it was when I was doing Spanish evening classes that I got the idea of doing a CELTA when I realised what a pleasant life my Spanish teacher was having. The 4-week course was intensive but that was part of the enjoyment. The three tutors were very supportive throughout and always gave us frank and honest advice. The students were a friendly mix of people and were always patient and good-humoured with their rather clumsy and inexperienced teachers. It was a very rewarding experience and at the end of the course I felt that I had got my brain back. I would advise it to anyone, but especially those who are free to go abroad and teach, as schools in this country tend to want teachers with experience unless you do a Summer School. Nevertheless, a CELTA is a very versatile extra string to anyone’s bow, and with it you should find it way to find a job anywhere in the world.† Mick Hutchinson â€Å"I did a CELTA course when I was 24 years old. I had just finished a contract as an Events Assistant in the city and was looking for something different to do. I had heard a lot about CELTA and TEFL courses and how useful they were if you wanted to go travelling and even to teach English in your home country. I thoroughly enjoyed myself, and it was a very satisfying as well as challenging experience. However, be warned that for one month it is hard work, but it’s well worth it! â€Å"When I completed my CELTA I taught English to Italian students for a while but went back to work in the city. However, I always knew I would use the CELTA at some point and I am now about to spend the summer in Ecuador teaching English!† Diana Chapman What motivates students? What can you do to keep motivation high? Teacher Training with Westminster Kingsway College Teaching is one of the most rewarding professions and it provides you with the opportunity to interact with people of all ages and from all walks of life. Westminster Kingsway College offers a number of teaching courses that will help you to progress into teaching as a career and develop your skills for the classroom. Careers at a glance: Teacher Lecturer Headteacher Social Worker Researcher School Administrator Teaching Courses at Westminster Kingsway College: This is a selection of the teaching courses at the College – contact us for further details. CELTA: Certificate in Teaching English to Speakers of Other Languages Access to Higher Education Diploma: Education Studies and Teacher Training Preparing to Teach in the Lifelong Learning Sector (PTLLS) Diploma in Teaching in the Lifelong Learning Sector (DTLLS) Visit www.westking.ac.uk for further details about Westminster Kingsway College