Marxism in Development Geography

Marxism in Development Geography Introduction Marxist Geography is critical in nature, and it utilizes philosophy and theories of Marxism to look at the spatial relations of human Geography. Marxist Geography attempts to change the world as well as explaining it.Advertising We will write a custom critical writing sample on Marxism in Development Geography specifically for you for only $16.05 $11/page Learn More Marxism perceives human beings as gradually transforming or changing themselves in stages until social perfection is reached (Peet, 1977). This transformation is viewed as an aim towards which society should be moving. The change is brought forth by dialectical systems bringing about a new process which is again contradicted and the process is replicated (Richard 1985). To effectively be able to comprehend geographical relations, it is important that the social-structure be observed. Marxism Geography tries to change the society by changing its basic structure. The forces behind the changing society are seen as entities which are the modes of production. They include capital, labour, class, capitalism, the market, the state and society. Marxist geography looks at the conflicting forces between social processes and the natural relations together with the spatial relations. It revolves around the modes of production which mold the social structure, remold it continuously to form the superstructure of the society. This paper will critically look at Marxism geography of development (Kitchen and Thrift, 2009). Marxism in Development Geography David Harvey (1973) is the primary developer of the Marxist movement in human geography. According to Marxist geography, social formations of capitalism give birth to environmental and spatial problems, for example, destructions of habitats and uneven employment. It studies the inherent capitalism contradictions as they appear in landscape and relate with each other (Yeung, 2005). This theory will explore the geographical parad igms brought out in Marxism geography, detailing the principles of Marxist geography with reference to the concepts of space and place. Kuhn (1962) came with the idea of paradigms and argued that periods dominated by one research mode, in science, are separated by periods of rapid change (Haggett 1990). Paradigms are described by Harvey (1973: 120) as a set of accepted relationships, categories, concepts and methods, throughout a community at given time. Anomalies occur over time that cannot be explained by the existing paradigms. These accumulations continue to a point where it calls for investigation (Hagget 1990).Advertising Looking for critical writing on geography? Let's see if we can help you! Get your first paper with 15% OFF Learn More Revolution and creation of new paradigms may result when problems created by the anomalies are attempted to be solved (Harvey 1973). Marxism perceives human beings as gradually transforming or changing themselves in sta ges until social perfection is reached. The Marxist geographers heavily depend on Marxist economic and social theories to show how the means of production in capitalist structures, control the human spatial distribution. By changing the workings of production, Marxist geography aims at changing the fundamental operations of social processes. This leads to investigations being done which leads to revolution and creation of new paradigms. Kuhn’s analysis may not directly, be relevant to the evolution and structure of geography, but, its three elements can explain what has happened with the discipline (Johnston, 1997). Marxist geography is composed of a disciplinary matrix paradigm which has shared values with social theory world view paradigm, in contrast with spatial science geography (Johnston, 1997). Human geography as explained by Johnston (1997) is a multiple discipline paradigm which is effectively in competition. Johnston’s view contradicts Kuhn’s view of a new paradigm which is almost universally accepted. Development of Marxism geography Marxist geography came into existence as a response to criticism on spatial geography, which dominated the, period (Richard 1985). Cox (2005) is of the view that the creation of the new paradigms is not a cheap process. Combining of the various bits and pieces of the Marxist world view ends up with quite an eclectic mix of concepts. A Marxism in favor of exchange and competition instead of class and production, for instance it might be simply a concern of unequal outcomes (Cox 2005. 3). Marxism geography underwent a quantitative revolution other than the historical preoccupation with description of unique places in details. Instead, this new science identified universal spatial laws, and concerned with applying scientific methods and creating models which could predict spatial patterns and human behavior (Cloke et al 1991).Advertising We will write a custom critical writing sample on Marxism in Development Geography specifically for you for only $16.05 $11/page Learn More Spatial science according to Johnston et al (2000) was based on a belief in positivism where observation, repetition and empirical research could be done, tested, verified and spatial laws of science uncovered. Humanistic geography was also in line with the Marxist geography in criticizing the spatial approach. It was in respect to spatial analysis also to the emergent Marxist geography (Cox 2004). In Duncan and Ley (1982) paper, it was featured as a deterministic and economistic approach. Humanistic geography however, lacked strong theoretical underpinnings which dismissed it as a credible response to the challenge posed by the Marxist geography. The now called ‘the new cultural geography’ is the response that emerged in the early eighties. Criticism of spatial science developed along two distinct lines. It did not consider the processes of independence and creativity a mong human beings, and it also ignored the effects of political, economical and social structures in developing spatial patterns (Cloke et al 1991). These two factors developed the humanist, in the first instance, and radical, in the second instance, strands of geography. Marxist geographers incorporated Marxist’s ideas into Geography to come up with Marxist geography (Moseley et al., 2007). Other aspects like feminist geography got hooked up with Marxism and the attraction of the new cultural geography became very strong and dominated the field (Cox 2005). Embracing the universalistic view of Marxism mirrored what was taking place in the real world. Harvey (1973) pointed out that class was, in fact, being sidelined by gender and race as pivots of oppositional politics in the United States. Harvey (1985a) outlines Marxist analysis key ideas, modes of production, which are the ways in which daily social life is produced reproduced and replicated. Marxism main focus is on the c apitalist mode of production, and he outlines the need for continued circulation of capital, profit being its core motive. Continuous circulation of capital can only be maintained if there is continuous expansion of commodities produced value and; hence economic growth is achieved. Marxism major achievement was the identification and understanding of exploitation as central in capitalist form of development (Cox 2004). The relations of production that necessitated exploitation in the work place extended the same to the living place through commoditization of the living place (Harvey 1985b).Advertising Looking for critical writing on geography? Let's see if we can help you! Get your first paper with 15% OFF Learn More Critical human geographers argue that exploitation instead of being an essential of capitalism, it occurs in times at particular places depending on the circumstances. The economic growth achieved as a result of continuous expansion of commodity values, expects workers to increase the value in production by giving more in production, than they are given in exchange for their labor. They, therefore, provide profits to the owners of modes of production. This gives rise to class relations in that capitalists who own the means of production prosper from the profits they get from exploiting the laborers, who in turn continue to be exploited. The workers must sell their labor for them to survive, and the owners of production continue exploiting them, hence replication of capitalism and exploitation (Marx, 1970). This perspective is incorporated in the Marxism geography to help change the society by facing the problems facing them, which is majorly capitalism. Harvey (1985a) echoes Marxism notion that capitalism has inherent conflicts, which make it, subject to crisis. For example, capitalists will seek to use technology to replace living labor in order to diminish the powers of workers by gaining competitive advantage (Brenner, 1977). This is in contrast with the fact that human workers are needed to the value expansion of commodities, the maintenance of capital circulation and creation of profits for the owners of production. Marxism’s belief is that capitalism will eventually fail because of these contradictions and, this will pave the way for a new mode of production (Marx Engels, 1978). Marxism geography not only criticized the spatial geographers for not taking account of the factors. They discovered in capitalist socio- economic and political causes of patterns in geography. They also criticized it for claiming objectivity through the support of positivism and the use of scientific methods. Research, argued by the radical geographers can never be value free. The choice of what to study also requires judgment in value. Therefore, stating research values should be done and clearly stated. Marxism geography has come under a lot of criticism, being challenged by newer and developing ideas like cultural geography, postmodernism and feminism, though they later integrated themselves into Marxism geography making it the main idea in the field (Cox 2004). For example, Howell (et al 2003) looks at class as only one factor in social patterns development, while there are others like ethnicity, sexuality, gender, color, language and even race. Rose, a feminist (1993, cited Holloway et al (2003) criticizes its male dominated analysis. Marxism geography has been questioned due to the backdrop of the changing world events and even the collapse of socialist states. Conclusion Space and place are the key concepts within the concept of Marxist geography. Some of the core ideas of Marxism geography can be deduced from the way the concepts of space a nd place have been analyzed. Marxist analysis reveals contradiction within capitalism through the analysis of space and place. This is explained by Harvey (1982), as because capitalism will try to unify and integrate space. Marxism developed from criticism of spatial science and dominated the social theory of geography. Some of the criticisms have been integrated into the Marxist geography making it dominant. Marxist geography looks at space as a social construction and looks at the connections between places (Smith, 1984). It is a vital and essential element in the geographical discipline development and potions of its analysis have been and still are widely accepted over the past 30 years. It is, however, facing the challenges of maintaining its importance and relevance in the face of emerging new ideas, changing times, and an overall changing world. Humanistic geography, which provides most, criticism to Marxist geography, ironically is seen as lacking in explaining the behaviora l constraints brought about by the social structures and the social agencies. References Brenner R. (1977). â€Å"The origin of capitalist development: a critique of Neo-Smithian Marxism.† New left review, 104: 25- 92. Cloke, P. et al, (1991). Approaching Human Geography: An Introduction to Contemporary Theoretical Debates. London: Paul Chapman Publishing. Haggett, P. (1990).The Geographer’s Art, Oxford: Blackwell. Harvey, D. (1973). Social Justice and the City. London: Edward Arnold. Harvey, D. (1982). The Limits to Capital. Oxford: Basil Blackwell. Harvey, D. (1985a). The Geopolitics of Capitalism, in Gregory. D. and Urry, J. eds (1985) Social Relations and Spatial Structures. Critical Human Geography. London. Harvey, D. (1985b). Consciousness and the Urban Experience. Oxford: Basil Blackwell. Holloway, S. et al. (2003). Key Concepts in Geography, London: Sage. Johnston, R. (1997). Geography and Geographers, (5th Ed). London: Arnold. Johnston, et al. (2000). The Dict ionary of Human Geography, (4th Ed). Oxford: Blackwell. Smith, N. (1984). Uneven Development. Oxford: Basil Blackwell. Cox R. K. (2004). â€Å"Globalization, the class relations and democracy†. Geo Journal. 60: 31- 41. Cox R. K. (2005). From Marxist geography to critical geography and back again. Department of geography Ohio University. Ohio State University. Columbus. Duncan J. and Ley D. (1982). Structural Marxism and human geography: a critical assessment. Association of American Geographers: Annal. 72: 30- 59. Kitchen, R and Thrift, N. (2009). International encyclopedia of human geography. London: Elsevier. Marx, K. Engels, F. (1978). The German ideology. International publishers. New York. Marx, K. (1970). Capitalism, Volume 1. Moscow: Progress Publishers. Moseley, W. et al (Ed). (2007). The Introductory Reader in Human Geography: contemporary debates and classic writings. Oxford: Blackwell. Peet, R. (ed) (1977). Radical geography. Chicago: Maaroufa Pres. Richard J. (19 85). â€Å"An introduction to Marxist Geography.† Journal of Geography, 84(1): 5-10. Yeung, H. W. (2005). â€Å"Rethinking relational economic geography.† Institute of British Geographers, 30: 37–51.

Australian Law and Native Title

Australian Law and Native Title Introduction Long before British colony established in Australia, that is, before 1788, the Aboriginal people and the Torres Strait Islanders settled in Australia as indigenous people. As usual, the Aboriginal people and Torres Strait Islander had their own customs and laws governing them besides, speaking a unique language.Advertising We will write a custom essay sample on Australian Law and Native Title specifically for you for only $16.05 $11/page Learn More Interestingly, these laws and customs went in tandem with brawny and firm spiritual connections, with an aim of forming an indigenous country. For example, these traditional customs and laws composed diverse activities like performing ceremonials and rituals, where men could go hunting and fishing and on the other hand, women could gather food. Additionally, the laws and customs mandated provision of education and knowledge to children through storytelling, artwork, songs and dances. Furthermore, thes e laws and customs became a platform of environmental conservation for future generations. Therefore, these laws and customs provided equality to all members of the society irrespective of the social class. However, after 1788, the story was never the same as the British colony alleged its own sovereignty in Australia. In essence, the British administration claimed colonial mastery and administration over Australian residents. (National Native Title Tribunal, 2010, Para. 1-7). Background History: Advent of Inequality The main cause of Australian law inequality was the British colonisers. These colonisers enacted laws that segregated some communities from the rest. On gaining independence, some leaders continued to impose these laws. To weaken this structure, communities had to contest in a court of law. By 1788, European powers had spread all over Europe to colonise weak nations- Australia being one of them. Nevertheless, it was not an easy task, as these power blocks in Europe had to deploy some tactics in case; indigenous territories resisted any form of colonialism. The first mode applied by these western powers was to conquer by conquest. At this instant, colonial masters had to seek mandate to colonise a nation by negotiating for certain reparations. If this system failed, the colonial masters applied another method. This time round, they could apply stringent measures in order to force indigenous population succumb to their demands. An example of this is what happened in Fiji during the colonial period. Some compensations and reparation could follow. Lastly, the third system involved declaration of land as terra nullius. This means, colonial masters considered land unsafe for human inhabitation hence; no need to negotiate any form of compensations of reparations to indigenous populace (a lie).Advertising Looking for essay on history? Let's see if we can help you! Get your first paper with 15% OFF Learn More Any of the three system s asserted negative consequences to indigenous population. As a result, many people suffered most. Some of them became landless and subjected to hard labour. Inequality dominated the talk of the day even as colonial masters killed stubborn indigenes. (Gary, 1997, Para. 5-6). The Aboriginal people of Australia had a well-structured system of governance. Their laws provided a platform of equality among all members. The laws and customs soldiered solidarity among Aboriginals before the First Feet of British colonisers arrived. The laws acted as foundation blocks whose realignment will see the relationship among Aboriginals crumple. Furthermore, the solidarity of Aboriginal population, plus their laws and customs, did not prevent British colonisers from building their own empire over the sovereignty enjoyed in Australian continent. The British colonisers declared Australian land terra nullius. This is because; the British colonisers did not want to negotiate with indigenous population o ver the issue of compensation. Instead, they opted to declare land terra nullius so that, they could evade any form of reparation or compensation exclusive of reference to indigenous rights. Some historians depict that, had these British colonisers recognized how important Aboriginal laws were, they could have spared Aboriginal sovereignty and instead, discuss and negotiate with indigenous population in order to award compensation or reparation to the lost land. (Fry, 1947, pp. 158-168). Deceitfully and deliberately, in 1889, the British colonisers ignored Aboriginal laws and customs, which gave Australian inhabitants fundamental rights and as a substitute, they declared British dominion based on terra nullius. Captivatingly, British officials applied terra nullius through lying to Australian inhabitants. This lie turned into a myth lasting over 200 years. Additionally, the myth shattered the Aboriginal laws and customs and eventually brought devastating moments among Islanders and Aboriginal people in Australia. The Koori people knew this to be a lie just as it came out to be. The British colonisers administered Australia under Terra nullius laws. Even after their withdrawal, Terra nullius dominated indigenous population in Australia until 1992. (Bird, 1988. pp. 4-32).Advertising We will write a custom essay sample on Australian Law and Native Title specifically for you for only $16.05 $11/page Learn More Nevertheless, there came a period in 1992, when Aboriginal people in Australia demanded justice. The law had proved futile and horrible. Indigenous people tired of terra nullius lies sought legal redress. Finally, one person named Mabo, filed suit to nullify terra nullius. Luckily, the High Court in Australia decided to illegalise terra nullius hence, liberating Aboriginals and Islanders of Strait. Fascinatingly, in Australian High Court, the Mabo case had taken a different perspective where, the national emphasis of Aboriginal stru ggle of rights previously deemed political made a quick shift into legal battle to voice out the demands of Aboriginal populations. The intense and successful political tussle lasting for five decades transformed into above-board configuration where astronomically priced law experts and Barristers fought mercy on the part of Aboriginal people. Together, these people fought to retain their ancestral land, which the British colonisers typified to their own sovereignty. Even today, the struggle continues. All manner disadvantages falls on the Aboriginal people as they struggle to retain the forgone justice. The struggle for liberation among Aboriginal population started in 1930 and continued to 1980s. They had formed a political movement aimed at reclaiming their land. All this time, Aboriginal Court cases dominated Australian Courts. Consequently, in 1993, there came a parliamentary legislation, Native Title Act, which brought equality in Australian legal system. In fact, most inhabit ants in Australia including indigenous ones illiterate in law, now have an idea on the Mabo decision as a product of the Native Title Act of 1993. The Act brought some light on legal matters and most importantly, the Aboriginal people received justice though the liberation continues. (Berndt, 1992, pp. 12-48). Native Title Under Australian law, a Native Title is a legal documentation, which provides Australian indigenous persons certain privileges and interests. In most cases, the Native Title provides policies that see people own and use land according to their traditional practices, that is, societal customs and laws. Additionally, the Title recognises and awards legal land interests to indigenous Australian citizens having survived and acquired accreditation from Queen Victoria in 1901.Advertising Looking for essay on history? Let's see if we can help you! Get your first paper with 15% OFF Learn More Under normal instances, Native Title resembles non-Indigenous property rights that allow people classified as indigenous, to exercise native rights on their traditional land. Apparently, the system allows land fragmentation at the expense of indigenous groups. Sometimes, the Native Title and non-indigenous laws behaves like two-tier systems, which recognises single national, geographical and jurisdictional environment in the application of Australian law. Thus, the Native Title is a customary law recognised by all Australians as customary Aboriginal law. In order to be effective, indigenous people’s rights and interests must depend on traditional customs and laws whose foundation rests on the group’s collective responsibility. The Native Title submits to individual or collective rights. Since 1992, Australian law identifies all interests and rights held by indigenous population. In particular, the Native Title became a custom will and at the same time, traditional law in order to bring equality and justice before the law. There are numerous rights, privileges and civil liberties gained because of enacting the native title into Australian law. Previously, these privileges consummating into rights did not exist. However, the native title awakened the dissemination of various time-honoured laws and customs, brought forth an idea of guarding and touring specific sceneries, ensured equality to all on the side of owning land, allowed accessibility to restricted areas so that, people can exploit traditional ritual and ceremonies. The Title gave all Australian citizens the right to own and occupy land albeit controlled places. (Native Title Tribunal, 2010, Para. 12-21). Mabo versus Queensland (1992) In 1990s, the Australian parliament made a move to negotiate a treaty with indigenous people who had suffered because of terra nullius. Although indigenous people in Australia did not have a representative in parliament, the feasibility of the matter said a l ot. The realignment of indigenous population in Australia preconditioned equality, which many Australian viewed as a political dispensation between people hence, social cohesion in Australia. Indeed, the influx of the Native Title in 1990 marked a step towards Australian legal equality. In the High Court of Australia, Mabo case challenged Australian authority whether; all-inclusive negotiations were paramount in overthrowing terra nullius in order to embrace indigenous governance recognised under Australian law. Most importantly, comprehensive negotiations had reached a sorry state both in practice and in principle. Verily, the Mabo case exuded legal injunctions other than property ownership in Australia. This is because; the Aboriginal population as an indigenous group, exercised an excellent internal jurisdiction, which defined individual rights and freedoms. Furthermore, the Native Title recognised any group that had internal traditional laws and customs jurisdiction. Such a grou p had the right to enter biding with the government over its indigenous resources and territory. (Jupp Nieuwenhuysen, 2007 p. 65). The Genesis of Equality in Australian Law In 1992, Australia entered a new era where equality dooms. In particular, the High Court of Australia brought some light in Australian law. The Meriam people had gone to court in order to secure rights of owning land in the Islands of Torres Strait. Luckily, the common law in Australia recognised such cases to receive hearing under the Native Title, which composed of traditional laws and customs. As a result, the Aboriginals lost land, language and left homeless. Interestingly, the federal government of Australia continued these policies, which undermined Aboriginal people. In the event, the High Court discarded the British impression of terra nullius (a situation where land does not belong to anybody). This notion had created inequality in large scale as the Australian citizenry except indigenous populace owned land. Therefore, the outcome of Mabo case gave individuals, righty to own property. Basing its argument on Native Title, the High Court declared that, individuals or communities could own land according to traditional laws and customs. This was to happen irrespective of inequitable laws created by Crown. Additionally, the High Court declared that, individuals and communities had the right to not only access and use land, but also possess it legally. (Department of Foreign Affairs, 2010, Para. 4-11). The law did bring equality replacing past injustices in Australian law. For example, the Mabo case highlighted two themes. The first one is, colonial boundaries preventing people from owning land, were a perjury to Aboriginal people. Secondly, terra nullius being a colonial sentiment is itself inequality and its abolition meant equality and new principals guiding land ownership in Australia. The law brought justice in land ownership. The federal government’s land tenure system to the aboriginal people seemed part of segregation. However, the advent of native title ensured the aboriginal people own land in Australia. Colonial masters and hence the federal government, caused material injury to Aboriginal people. In addition, they lost traditional rights, language and forced out of land. The law brought equality in that, like other Australian citizens, the Court ruled on their side to receive traditional rights. Moreover, in terms of economic gains, the Aboriginal people like indigenous Australians, participated in income generating activities like mining and doing business. On the other hand, the federal government sent money to remote areas to undertake communal projects. In the past, racism, social amenities, education, employment and housing were invisible truths among Aboriginal people. The law brought equality through mainstreaming where; the federal government adhered to Aboriginal policy and completed various programs for the benefit of the Aboriginal people. Socio-economically, the Aboriginals are almost at the same level with other indigenous Australians. Equality in the Context of Native Title The Native Title did bring equality in Australian legal equality. The fundamental rights and interests gained from the Native Title root from traditional laws and customs initially, destroyed by British sovereignty. In addition, Native Title rights do not resemble government rights like Aboriginal Land Rights Act of 1976 (Northern Territory), or any other statutory land rights. Nonetheless, the Native Title rights extend its rights and interests even to water bodies, a scenario not exhibited under government laws. By this, the Native Title establishes just land acquisition in tandem with traditional laws and customs. The parliamentary legislation of 1993, Native Title Act, reaffirmed the recognition of native title, as the foundation of egalitarianism and justice. Native Title applies heavily in the legal system of Australia to promote e quality. For example, customary law recognises traditional laws and customs, which sire rights and interests of certain indigenous Australians. Additionally, the Native Title ensures that, communities and individuals own access land and water notwithstanding, traditional laws and customs. The fact that, the legal system in Australia recognises native title under customary law is a step towards equality and justice before law. This means, individuals or communities denied land either from dubious operations like terra nullius; can contest in a court of law to secure such rights. As a calculated move towards equality, it is the Native Title Act, which determines the groups or communities to receive rights and interests. Nevertheless, this must be in a case where, the native title holds. Additionally, the Act provides a policy framework on how Australian law deals with future activities flout with the native title. In a situation where the law finds native title prejudiced, compensatio n follows immediately. In essence, the native title brings equality in Australian law through fair hearings and compensations if any. (Stephenson Ratnapala, 1993, pp. 13-58). Unlike Australian law, the native title bestows native title rights and interests to indigenous Australians or any person or group that had made claim in a court of law. Grippingly, rather than authoritarianism, the native title allows consultation between all stakeholders in order to have a common solution to a certain problem. For example, through the native title and Australian law, indigenous Australians have effectively negotiated communal land benefits according to their traditional customs and laws. Moreover, the once segregated indigenous population can now access opportunities like employment and birthright fortification, courtesy of the native title. Previously, the government did not recognise land bodies and title certificated held by indigenous people. Consequently, the Native Title Act required pr ofessional land bodies whose main role will be, to ensure equality to all claimants. Overall, some clauses in the native title gave power to the Native Title Tribunal, native title representative bodies and the Australian Federal Court to solve all contentious issues arising from the native title. (Bachelard, 1997. pp. 8-34). Many at times, the government receives blame for its laxity in educating people to understand the Native Title Act. Majority of Australians seem not to understand what Native Title Act means to them. There might be some Australians having land issues but do not know how to solve them yet, the Act allows mutual discussions leading to an amicable solution. Nevertheless, for those who have gained familiarity of the Native Title Act, land interests and reparations are not serious issues to trouble. Even as Australians become acquainted with the provisions of the Native Title Act, it is now clear that, more volunteer Indigenous Land Use Agreements will take preceden t and create a consensual fortitude of dealing with issues arising from native title so that, equality prevails in Australian law. (Yunupingu, 1997, pp. 54- 73). Conclusion Traditional laws and customs were the contentious issue leading to the Mabo case (No.2). These laws and customs formed an Aboriginal perspective different from the normal jurisprudential Australian law concepts. According to Aboriginals, Australian law had to incorporate traditional values, practices, beliefs and rules in form of an ‘aboriginal culture’. The British colonisers brought a lie called terra nullius, which led to erosion of ‘aboriginal culture’. For over two hundred years (1788-1992), the Aboriginal people and Torres Strait Islanders owned nothing and lost rights to possess. Captivatingly, since then, Australians lost understanding on traditional laws and customs, which were paramount among indigenous Australian population. In the wake of realisation, indigenous Australians d ecided to fight for their rights and interests. Originally, Australian was a judge-made common law nation; law concept left by British colonisers. Nevertheless, after years of political movement and legal battling, terra nullius laws became invalid. On the other hand, the Native Title Act of 1993 by Australian parliament brought justice and equality to all Australians. Today, million of Australians own property and access rights to acquire, use and occupy land. This is so because; the native title brought equality into Australian common law. References Bachelard, M., 1997.The Great Land Grab: What every Australian should know  about Wik, Mabo and the Ten-point Plan. Melbourne: Hyland House Books. Berndt, M., 1992. The World of the First Australians, Aboriginal Traditional Life:  Past and Present. 5th Ed. Canberra: Aboriginal Studies Press. Bird, G., 1988. The Process of Law in Australia: Intercultural Perspective’s. London: Butterworth Publishers. Department of Foreign Af fairs and Trade, 2010. Indigenous land rights and native title. Web. Fry, T., 1947. Land Tenures in Australian Law. 3 Res Judicatae, 156-168. Gary, F., 1997. Native Title is not Land Rights. Web. Jupp, J. Nieuwenhuysen, E., 2007. Social Cohesion in Australia. Cambridge: Cambridge University Press. National Native Title Tribunal., 2010. History of Native Title. Web. Stephenson, M. Ratnapala S., 1993. Mabo: A Judicial Revolution. Aboriginal  Land Rights Decision and its impact on Australian Law. Brisbane: University of Queensland Press. Yunupingu, G., 1997. Our Land is Our Life: Land Rights – Past, Present and Future.  Brisbane: University of Queensland Press.

MEDIA PLAY IN SHAPING PUBLIC DEBATE ABOUT CURRENT ISSUES (WRITE A Essay

MEDIA PLAY IN SHAPING PUBLIC DEBATE ABOUT CURRENT ISSUES (WRITE A PAPER BASED ON BOOK) - Essay Example ributing to and reflecting public sentiments about immigration in the United States, largely because of how it frames arguments around the latter (Fryberg et al. 3) and people’s selective media consumption (de Zà ºÃƒ ±iga, Correa, and Valenzuela 599). Framing pertains to â€Å"the way that an argument is packaged†¦ so as to make accessible and encourage a particular interpretation of a given issue† (Fryberg et al. 3). The media has a significant role in affecting the public debate of immigration through its framing and slanting of news about it, although political ideology, exposure to different sources of news, and geographic location affects the framing perspective and public sentiments on immigration also. The media affects current immigration issues through its different ways of controlling information, as it builds and contributes to the formation of civil society through the informatization of the world. In reality, numerous news and media content compete for media coverage, and immigration is only one of many possible everyday topics. The media has the power to decide which topics to cover, how it can cover it, and how many times it can cover it, although their coverage also depends on what the public wants or what politicians what to talk about in the news (Fryberg et al. 3; Hayes 1). Some scholars have already noted that the media has become powerful in shaping civil society through influencing the availability of and access to different content of news and information. In Social History of the Media Asa Briggs and Peter Burke describe the rise of the information age, which evolved from the printing press to the radios and television to the electronic and digital media. They not e the informatization of civil society, as people in power and related to them understand that â€Å"[c]ontrol of information†¦would be the essence of wealth and power in the future† (Briggs and Burke 232). Whoever holds sources of data of whatever form has the power to sway the

Group WIKI Assignment Example | Topics and Well Written Essays - 250 words

Group WIKI - Assignment Example Prevention includes recreational treatment methods that will teach them on how to be much more in control of their lives and choices they make including the friendship they keep. The case study of the 12 year old girl with substance abuse problem will also benefit more from having a strong social support system from the parents and guardians as the girl has the mother, she should try to provide a social support after the rehabilitation (Gregg, 2012). According to the journal article, nurses are the first to discover about older people that may be undergoing domestic abuse without them even having the knowledge about it taking place. The best way to handle such situations is for the one that discovers the domestic violence to find ways to address it as soon as they can to protect the one being abused with or without their knowledge. In this case about the elderly couple, the man needs help from the lady as he seems to be undergoing domestic violence (McDowall, 2010). Aradilla-Herrero, A., Tomas-Sabado, J. & Gomez-Benito, J. (2014, April 23). Associations between emotional intelligence, depression and suicide risk in nursing students. Nurse Education Today, 34(4):

Organisational Transformation in Practice Essay Example for Free

Organisational Transformation in Practice Essay Every module has a Module Definition Form (MDF) which is the officially validated record of the module. You can access the MDF for this module in three ways: †¢the Virtual Learning Environment (VLE) †¢the My. Anglia Module Catalogue at www. anglia. ac. uk/modulecatalogue †¢Anglia Ruskin’s module search engine facility at www. anglia. ac. uk/modules All modules delivered by Anglia Ruskin University at its main campuses in the UK and at partner institutions throughout the UK and overseas are governed by the Academic Regulations. You can view these at www. anglia. ac. uk/academicregs. A printed extract of the Academic Regulations, known as the Assessment Regulations, is available for every student from your Faculty Office MAB301 (all new students will have received a copy as part of their welcome pack). In the unlikely event of any discrepancy between the Academic Regulations and any other publication, including this module guide, the Academic Regulations, as the definitive document, take precedence over all other publications and will be applied in all cases. 2. Introduction to the Module This module provides the opportunity for students to personally explore the relationship between personal change and organisational change/ transformation (de Vries and Balazs, 1999). And personally relate to the leadership and organisational challenges of transformational change in organisations. The module uses different activities to explore the nature of personal change issues required for successful employee engagement in an organisations change agenda. In the management and leadership field much is written and discussed about the following seven elements: (1) behaviour, (2) knowledge (3) skills / capability (4) belief systems, (5) values, (6) identity, (7) vision/ purpose. Using various methods, students will be encouraged to make sense of each of these ideas, and the interrelationship between them. This will be set against a real/simulated strategic learning context. Module participants are actively encouraged to reflect upon their own  existential experience and development through dynamic relations with others and performing roles. It is hoped the module will lead to students developing profound personal insights and also achieve personal growth. The module uses different activities to enquire into, reflect upon and diagnose personal, group and organizational leadership and transformation. Students will be able to diagnose where a/ their team or organisation is weak and design interventions that can help to guide significant change or transformation. The student will be equipped with a clear methodology for guiding his or her own development as an achiever or leader of the future. Assessment is by way of portfolio. 3. Intended Learning Outcomes Learning Outcomes (threshold standards) On successful completion of this module the student will be expected to be able to: 1 Knowledge and understanding Understand the values and leadership behaviours that create the modern enterprise and equip individuals to manage / lead in globally transformational contexts 2 Knowledge and understanding. Develop a robust understanding of leadership and change management within the context of organisational transformation 3 Intellectual, practical, affective and transferable skills Utilise a 7 element framework as a diagnostic tool to evaluate leadership capability in a team or organisation 4 Intellectual, practical, affective and transferable skills Demonstrate an ability to reflect upon ones own management development journey against the context of employability in global and transformational settings of the future 4. Outline Delivery. WkLectureSeminar/WorkshopReading 1 Organisational changeAction Learning SetsKets de Vries 2 Personal change Patchwork textKets de Vries Jung 3 Personal change organisational changePatchwork textKets de Vries James and Arroba http://triadllc. com/publications. html 4 Manager as personPatchwork textKets de Vries Tony Watson 5 Management leadershipPatchwork textKets de Vries Keith Grint 6 Managing leading changePatchwork textKets de Vries http://triadllc. com/publications. html 7 Managing Leading changePatchwork textKets de Vries. James and Arroba 8 Change agencyPatchwork textKets de Vries James and Arroba 9 Change processesPatchwork textKets de Vries 10 Organisational rolePatchwork textKrantz and Maltz 11 Wheel of changePatchwork textKets de Vries Jung 12 Wheel of changePatchwork textKets de Vries etc 4. 1 Attendance Requirements Attending all your classes is very important and one of the best ways to help you succeed in this module. In accordance with the Student Charter, you are expected to arrive on time and take an active part in all your timetabled classes. If you are unable to attend a class for a valid reason (eg: illness), please contact your Module Tutor Anglia Ruskin will closely monitor the attendance of all students and will contact you by e-mail if you have been absent without notice for two weeks. Continued absence can result in the termination of your registration as you will be considered to have withdrawn from your studies. International students who are non-EEA nationals and in possession of entry clearance/leave to remain as a student (student visa) are required to be in regular attendance at Anglia Ruskin. Failure to do so is considered to be a breach of national immigration regulations. Anglia Ruskin, like all British Universities, is statutorily obliged to inform the Border and Immigration Agency of the Home Office of significant unauthorised absences by any student visa holders. 5. Assessment Students are required to assemble a â€Å"patchwork text† (Illes, 2003; Winter, 2003) which relates your current or future workplace role. The patchwork text may be developed or based upon the following: †¢Kets de Vries (2004) suggests that people are prisoners of their past. Evaluate and reflect upon how your past might influence your future workplace role and development. †¢Evaluate and reflect upon a personal experience of change in your workplace †¢Apply Krantz and Maltz’s (1997) role analysis to your current workplace experience. †¢Using the â€Å"triangle of conflict† (de Vries, 2007), evaluate and reflect upon a major incident of conflict in your life. Consider your learning/ experiences in relation to your future workplace role. †¢Apply James and Arroba’s (2005) â€Å"reading and carrying framework† to critically evaluate and reflect upon how you interact with others. Consider the implications in relation to your future workplace role. †¢Conduct and develop a critical self-analysis using Jung’s notion of individuation (Carr, 2002), and relate this to your leadership archetype. †¢Critically evaluate, and reflect upon your own resilience and relate this your existing and future leadership competencies Guidance Notes for Students (see Smith and Winter, 2003) Your assignment will be assembled gradually during the progress of the module through a series of written tasks, which you will share with each other in small groups. There are several reasons for this:- †¢to avoid the last minute rush of having to write the whole assignment at the end of the teaching, when time is short; †¢to enable you to use a variety of different ways of writing, and thus to increase your opportunity to demonstrate your own particular abilities; †¢to enable you to give each other early constructive feedback as to how clearly you have presented your ideas and how they might perhaps be developed; †¢to enable you to write about all aspects of the module content (instead of having to select just a few aspects for a specific essay topic). Before you submit your assignment, you will be asked to write a final piece, to be added to what you have written already. This is designed to give you the opportunity to revisit (edit and revise) the ideas you have presented in your earlier pieces and to discuss what you have gained from the work as a whole. (This is the only task that will need to be completed after the end of the teaching. ) You MUST use academic theories and concepts to develop your personal reflection and portfolio. Your patchwork text SHOULD meet all the learning outcomes (see below; see mdf) Learning Outcomes (threshold standards): On successful completion of this module the student will be expected to be able to: Knowledge and understanding Understand the values and leadership behaviours that create the modern enterprise and equip individuals to manage / lead in globally transformational contexts Knowledge and understandingDevelop a robust understanding of leadership and change management within the context of organisational transformation Intellectual, practical, affective and transferable skillsUtilise the 7 Element framework as a diagnostic tool to evaluate leadership capability in a team or organisation. Intellectual, practical, affective and transferable skillsDemonstrate an ability to reflect upon ones own management development journey against the context of employability in global and transformational settings of the future The sequence of writing tasks which will make up the final assignment is as follows: Weeks 1- 4 (approx. ) 1Explore how your personal experience impacts upon, and has implications for how you interact with others, adapt and respond to change (Learning outcomes 1 – 4). Weeks 5- 7 (approx. ) 2. Using your chosen personal experience critically reflect upon and evaluate your own assumptions, values and leadership behaviours. (Learning outcomes 1 and 3). Weeks 8 – 12 (approx. ) 3 Write about an example of your own group experiences from the point of view of one of your fellow group members imagining their experience of your work with her / him (Learning Outcomes 1- 4) Weeks 1 – 12. 4. Use the learning from your personal experience, and group reflection, in relation to your future workplace role (Learning outcomes 1 – 4) 5. (Final synthesis) A retrospective summary of and commentary on your previous writing, indicating what you have learned which seems to you to be important for your own professional understanding and development (Learning outcomes 1 – 4) Time will be available within the teaching sessions for you to discuss in small groups the writing you have done in response to each of the writing tasks. So you will therefore need to make four or five copies to bring along to the session. The word-limit for the whole assignment is 3,000 words. There are no specific word-limits for the individual pieces of writing, but you should aim to make sure that there is a balance between them. And you will need to leave at least 500 words for the final task (no. 5 above). Patchwork text references Akister, J. (2005). Using a Patchwork Text to assess family therapy students. Journal of Family Therapy, 27(3), 276-279 Illes K. (2003). The Patchwork Text and Business Education: rethinking the importance of personal reflection and co-operative cultures. Innovations in Education Teaching International, 40(2), 209-215. McKenzie J. (2003). The student as an active agent in a disciplinary structure: introducing the Patchwork Text in teaching sociology. Innovations in Education Teaching International, 40(2), 152-160. Ovens P. (2003). Using the Patchwork Text to develop a critical understanding of science. Innovations in Education Teaching International, 40(2), 133-143. Parker J. (2003). The Patchwork Text in teaching Greek Tragedy. Innovations in Education Teaching International, 40(2), 180-193. Quinn J. (2003). Patchwork Text example one: becoming a science specialist teacher. Innovations in Education Teaching International, 40(2), 144-151. Ramsden, P. (1992). Learning to Teach in Higher Education, Routledge: London. Smith L. Winter R. (2003). Applied epistemology for community nurses: evaluating the impact of the Patchwork Text. Innovations in Education Teaching International, Volume 40(2), 161-173. Winter, R. (2003). Contextualizing the Patchwork Text: Addressing Problems of Coursework Assessment in Higher Education, Innovations in Education and Teaching International, 40(2), 112-122. All coursework assignments and other forms of assessment must be submitted by the published deadline which is detailed above. It is your responsibility to know when work is due to be submitted – ignorance of the deadline date will not be accepted as a reason for late or non-submission. All student work which contributes to the eventual outcome of the module (ie: if it determines whether you will pass or fail the module and counts towards the mark you achieve for the module) is submitted via the iCentre using the formal submission sheet Academic staff CANNOT accept work directly from you. If you decide to submit your work to the iCentre by post, it must arrive by midday on the due date. If you elect to post your work, you do so at your own risk and you must ensure that sufficient time is provided for your work to arrive at the iCentre. Posting your work the day before a deadline, albeit by first class post, is extremely risky and not advised. Any late work (submitted in person or by post) will NOT be accepted and a mark of zero will be awarded for the assessment task in question. You are requested to keep a copy of your work. Feedback You are entitled to written feedback on your performance for all your assessed work. For all assessment tasks which are not examinations, this is provided by a member of academic staff completing the assignment coversheet on which your mark and feedback will relate to the achievement of the module’s intended learning outcomes and the assessment criteria you were given for the task when it was first issued. Examination scripts are retained by Anglia Ruskin and are not returned to students. However, you are entitled to feedback on your performance in an examination and may request a meeting with the Module Leader or Tutor to see your examination script and to discuss your performance. Anglia Ruskin is committed to providing you with feedback on all assessed work within 20 working days of the submission deadline or the date of an examination. This is extended to 30 days for feedback for a Major Project module (please note that working days excludes those days when Anglia Ruskin University is officially closed; eg: between Christmas and New Year). Personal tutors will offer to read feedback from several modules and help you to address any common themes that may be emerging. At the main Anglia Ruskin University campuses, each Faculty will publish details of the arrangement for the return of your assessed work (eg: a marked essay or case study etc. ). Any work which is not collected by you from the Faculty within this timeframe is returned to the iCentres from where you can subsequently collect it. The iCentres retain student work for a specified period prior to its disposal. To assure ourselves that our marking processes are comparable with other universities in the UK, Anglia Ruskin provides samples of student assessed work to external examiners as a routine part of our marking processes. External examiners are experienced academic staff from other universities who scrutinise your work and provide Anglia Ruskin academic staff with feedback and advice. Many of Anglia Ruskin’s staff act as external examiners at other universities. On occasion, you will receive feedback and marks for pieces of work that you completed in the earlier stages of the module. We provide you with this feedback as part of the learning experience and to help you prepare for other assessment tasks that you have still to complete. It is important to note that, in these cases, the marks for these pieces of work are unconfirmed as the processes described above for the use of external examiners will not have been completed. This means that, potentially, marks can change, in either direction! Marks for modules and individual pieces of work become confirmed on the Dates for the Official Publication of Results which can be checked at www. anglia. ac. uk/results. Assessment Criteria and Marking Standards Patchwork text assignment guidelines (Jenkins, 2008) †¢Careful, detailed observation and recollection of events and situations †¢evidence the interrelationship between leadership behaviours, skills, belief systems, values, identity, vision and purpose (7 elements framework) †¢Noticing the various emotional dimensions of events and situations †¢Independent, critical and evaluative thinking †¢Recognising and responding to the complexities of events and situations †¢Effective communication and application of complex concepts and theories (e.g psychoanalytic, psychodynamic, psychotherapeutic) to personal/ inter-personal experiences of events and situations †¢Demonstrating learning in relation to personal development, effective relations with others and future workplace role. †¢Demonstrating the learner outcomes in relation to future workplace effectiveness †¢Coherent structuring, interlinking and presentation of patchwork text (including grammar, typography and referencing). ANGLIA RUSKIN UNIVERSITY GENERIC ASSESSMENT CRITERIA AND MARKING STANDARDS LEVEL 3 Generic Learning Outcomes. (Academic Regulations, Section 2)Assessment criteria by levelMarking standards (by mark band) 70%+60-69%50-59%40-49%30-39%1-29% Characteristics of student achievement per mark band Achieves module outcome/s related to this GLO at this Level of StudyAchieves module outcome/s related to this GLO at this Level of StudyAchieves module outcome/s related to this GLO at this Level of Study Achieves a marginal pass in the module outcome/s related to this GLO at this Level of StudyFails marginally to achieve module outcome/s related to this GLO. MDF may permit compensation Fails to achieve module outcome/s related to this GLO and is not eligible for compensation Knowledge and UnderstandingLevel 3 (FHEQ level 6) is characterised by an expectation of students’ increasing autonomy in relation to their study and developing skill sets. Students are expected to demonstrate problem solving skills, both theoretical and practical. This is supported by an understanding of appropriate theory; creativity of expression and thought based in individual judgement; and the ability to seek out, invoke, analyse and evaluate competing theories or methods of working in a critically constructive and open manner. Output includes is articulate, coherent and skilled in the appropriate medium, with some students producing original or innovative work in their specialism. Excellent knowledge base that supports analysis, evaluation and problem-solving in theory/practice/ ethics of discipline with considerable originality. Good knowledge base that supports analysis, evaluation and problem-solving in theory/ practice/ ethics of discipline with some originality. Satisfactory knowledge base that supports some analysis, evaluation and problem-solving in theory/practice/ ethics of discipline. Basic knowledge base with some omissions at the level of theoretical/ethical issues.. Restricted ability to discuss theory and/or or solve problems in disciplineLimited knowledge base; limited understanding of discipline/ethical issues.. Difficulty with theory and problem solving in disciplineInadequate knowledge base; lack of understanding of discipline/ethical issues. Unable to discuss theory or solve problems in discipline. Intellectual (thinking), Practical, Affective and Transferable SkillsLevel 3 (FHEQ level 6) is characterised by an expectation of students’ increasing autonomy in relation to their study and developing skill sets. Students are expected to demonstrate problem solving skills, both theoretical and practical. This is supported by an understanding of appropriate theory; creativity of expression and thought based in individual judgement; and the ability to seek out, invoke, analyse and evaluate competing theories or methods of working in a critically constructive and open manner. Output is articulate, coherent and skilled in the appropriate medium, with some students producing original or innovative work in their specialism. Excellent management of learning, with degree of autonomy/ research that may exceed the assessment brief. Structured and creative expression. Very good academic/ intellectual skills and practical/ team/professional/ problem-solving skills Good management of learning, with consistent self-directed research. Structured and accurate expression. Good academic/ intellectual skills and team/ practical/ prof-essional/problem solving skills Satisfactory management of learning. Some autonomy in research but inconsistent. Structured and mainly accurate expression. Acceptable level of academic/ intellectual skills going beyond description at times Satisfactory team/practical/professional/ problem-solving skillsBasic use of learning resources with little autonomy. Some difficulties with academic/ intellectual skills Some difficulty with structure/ accuracy in expression, but evidence of developing team/ practical/ professional/ problem-solving skillsLimited use of learning resour-ces. Unable to work autonom-ously. Little input to teams. Weak academic/intel-ectual skills. Still mainly descrip-tive General difficulty with structure/ accur-acy in express-ion. Practical/ professional/ problem-solving skills that are not yet secureInadequate use of learning resources. Failure to contribute to team work. Major problems with structure/ accuracy in expression. Very weak academic/ intellectual skills. and weak practical/professional skills. No ability to direct own learning A mark of 0% may be awarded for non-submission, poor or dangerous practice, incoherent and insufficient work, and in situations where the student fails to address the assignment brief and related learning outcomes 7. Assessment Offences. You are reminded that any work that you submit must be your own. All suspected assessment offences will be investigated and can result in severe penalties. Please note that it is your responsibility to consult the relevant sections of the Academic Regulations (section 10 – see www. anglia. ac. uk/academicregs) and the Student Handbook. When you are preparing your work for submission, it is important that you understand the various academic conventions that you are expected to follow in order to make sure that you do not leave yourself open to accusations of plagiarism (eg: the correct use of referencing, citations, footnotes etc.) and that your work maintains its academic integrity. Plagiarism is theft and constitutes the presentation of another’s work as your own in order to gain an unfair advantage. You will receive advice and guidance on how to avoid plagiarism and other elements of poor academic practice during the early stages of your studies at Anglia Ruskin. Introduction Being honest in your work is at the heart of studying and working at university. To be honest in your work you must acknowledge the ideas and work of others you use, and you must not try to get an advantage over others by being dishonest. It is important that you understand what it means to be honest in your work. Although there is general agreement within the UK academic community about the types of activity that are unacceptable, this does vary slightly between institutions, and may be different from where you studied before. We have developed this guidance to help you understand what it means to be honest in your work, and what you should do to make sure that you are handing in work that meets our expectations. This means we can make sure that we can maintain reliable standards for our academic awards, and  students continue to enjoy studying for academic qualifications that have a good reputation. In this guidance we will: †¢clearly define what being honest in your work and good practice mean, and how you can achieve this; †¢define ‘assessment offences’, including plagiarism, cheating and collusion; †¢identify the resources, help and advice available to help you learn the academic skills you need to avoid committing assessment offences; †¢explain how we expect you to behave; and †¢describe what happens if we think you have committed an assessment offence. Being honest in your work and good practice You can show good practice when you do your work independently, honestly and in a proper academic style, using good referencing and acknowledging all of your sources. To show good academic practice you must: †¢show you understand the literature; †¢use research from academics and others in your area of study; †¢discuss and evaluate ideas and theories; †¢develop your own independent evaluation of academic issues; and †¢develop your own arguments. To support your own good practice you will need to develop your: †¢skills at studying and getting information (for example, reading, taking notes, research and so on); †¢skills in looking at an argument and making your own evaluation (for example, having a balanced opinion, using reasoning and argument); †¢writing skills for essays, reports, dissertations and so on; †¢referencing skills (how you include your sources of information in your work); and †¢exam techniques (for example, revising and timing). Achieving good practice is not as complicated as it may appear. You need to do the following. †¢Know the rules. †¢Make sure you reference all of your information sources. Poor practice or dishonesty in your work (such as plagiarism, cheating, fraud and so on) can be a result of you not knowing what you are allowed to do. †¢Develop your own style. Sometimes students include too much original text from the work of others, as they believe that they cannot ‘put it any better’. Although you should try to express ideas in your own words, quoting or summing up ideas from academic sources is fine, as long as you say where you have taken this from. You must also reference other people’s performances or art in your own work. It fine to use other people’s performances and art, but you must be completely clear about why you are using that work, and make sure it is obvious that it isn’t your own. Definitions of assessment offences Plagiarism Plagiarism is when you present someone else’s work, words, images, ideas, opinions or discoveries, whether published or not, as your own. It is also when you take the artwork, images or computer-generated work of others, without properly acknowledging where this is from or you do this without their permission. You can commit plagiarism in examinations, but is most likely to happen in coursework, assignments, portfolios, essays, dissertations and so on. Examples of plagiarism include: †¢directly copying from written work, physical work, performances, recorded work or images, without saying where this is from; †¢using information from the internet or electronic media (such as DVDs and CDs) which belongs to someone else, and presenting it as your own; †¢rewording someone else’s work, without referencing them; and †¢handing in something for assessment which has been produced by another student or person. It is important that you do not plagiarise – intentionally or unintentionally – because the work of others and their ideas are their own. There are benefits to producing original ideas in terms of awards, prizes, qualifications, reputation and so on. To use someone else’s work, words, images, ideas or discoveries is a form of theft. Collusion Collusion is similar to plagiarism as it is an attempt to present another’s work as your own. In plagiarism the original owner of the work is not aware you are using it, in collusion two or more people may be involved in trying to produce one piece of work to benefit one individual, or plagiarising another person’s work. Examples of collusion include: †¢agreeing with others to cheat; †¢getting someone else to produce part or all of your work; †¢copying the work of another person (with their permission); †¢submitting work from essay banks; †¢paying someone to produce work for you; and †¢allowing another student to copy your own work. Many parts of university life need students to work together. Working as a team, as directed by your tutor, and producing group work is not collusion. Collusion only happens if you produce joint work to benefit of one or more person and try to deceive another (for example the assessor). Cheating Cheating is when someone aims to get unfair advantage over others. Examples of cheating include: †¢taking unauthorised material into the examination room; †¢inventing results (including experiments, research, interviews and observations); †¢handing your own previously graded work back in; †¢getting an examination paper before it is released; †¢behaving in a way that means other students perform poorly; †¢pretending to be another student; and †¢trying to bribe members of staff or examiners. Help to avoid assessment offences Most of our students are honest and want to avoid making assessment offences. We have a variety of resources, advice and guidance available to help make sure you can develop good academic skills. We will make sure that we make available consistent statements about what we expect in this document, and in student handbooks and module guides. You will be able to do tutorials on being honest in your work from the library and other central support services and faculties, and you will be able to test your written work for plagiarism using ‘Turnitin ®UK’ (a software package that detects plagiarism). You can get advice on how to honestly use the work of others in your own work from the library website (www. libweb. anglia. ac. uk/referencing/referencing. htm) and your lecturer and personal tutor. You will have an opportunity to do a ‘formative’ assignment before you finish and hand in your first ‘summative’ assignment. A ‘formative’ assignment is one in which you can talk about your work thoroughly with your tutor to make sure that you are working at the correct level for your award, and that you understand what is meant by good practice (a ‘summative’ assignment counts towards the assessment for your course). You will be able to use ‘Turnitin ®UK’, a special software package which is used to detect plagiarism. Turnitin ®UK will produce a report which clearly shows if passages in your work have been taken from somewhere else. You may talk about this with your personal tutor to see where you may need to improve your academic practice. We will not see these formative Turnitin ®UK reports as assessment offences. If you are not sure whether the way you are working meets our requirements, you should talk to your personal tutor. They will be able to help you and tell you about other resources which will help you develop your academic skills. What we expect from you  We will make sure you have the chance to practice your academic skills and avoid accidentally breaking our Academic Regulations. On page nine of the Student Charter (see http://web. anglia. ac. uk/anet/students/pdfs/09_student_charter. pdf), it says you have to ‘be aware of the academic rules relating to your studies’. To make sure that you are aware of the rules, we expect you to agree to: †¢read this guidance and make sure you thoroughly understand it; †¢work through ‘PILOT’, the online tutorial available on our library website (http://libweb. anglia. ac.uk/pilot/), which aims to help you learn good practice and has a useful section on plagiarism; †¢make sure that you are familiar with how to reference (acknowledge other people’s work); †¢correctly reference all the sources for the information you have included in your work; †¢identify information you have downloaded from the internet; †¢never use someone else’s ideas for a performance, film or TV programme, their artwork, graphics (including graphs, spreadsheets and so on and information from the internet) as if they are yours; †¢only hand in your own original work; †¢never use another person’s work as if it were your own; and †¢never let other students use or copy your work. What we will do for you To help you avoid making assessment offences, our staff will: †¢make sure they are familiar with the guidance on being honest in your work and the Academic Regulations; †¢tell you clearly about the guidance on being honest in your work and any guidelines on misconduct, and record the dates for future reference; †¢arrange library information sessions for you;

Writing Style Essay -- Writing Style Styles Essays

Writing Style I hear inner Strunk and White voices of â€Å"don’t overwrite†, â€Å"write in a way that comes naturally,† and so forth, going through my head. I have visions of endless Williams examples and illustrations on clarity. I see weeks of blog writings flashing through my memory. From all of this, I now own and believe in a firm and personal definition of what style is and what good writing entails. William Strunk and E.B. White’s book The Elements of Style, along with Joseph M. Williams’s book Style Toward Clarity and Grace helped lead me to this point, which is: what is the point? What really matters when we consider the style of writing? What makes good writing good? Every writer could collectively sit down together and never come up with an answer to these questions because every writer has a different opinion on what matters. As a writer and a reader, I believe what really matters in style is the affect a piece of writing has on readers. Although every reader is different in the way a piece of writing impacts her/him, there is still an unspoken knowledge that all readers want to come away from a piece of writing a changed person, with a challenged view on a subject matter, with a new interest, or a passion for a previously unknown matter. What is the point? The point is that style, no matter how it is presented, needs to have an affect on each and every reader. No writer wants to sit down and hear echoes of their seventh grade English teacher pounding messages of â€Å"use correct grammar and punctuation!† or â€Å"watch your s pelling!† in their brains, restricting them from all creativity. For that matter, no reader wants to pick up two pieces of writing from two different writers and se... ... From these books on style, I’ve learned that the content of the writing is not as important as the presentation of it. If a piece of writing is clear, concise, understandable, and formatted well, a reader will be affected by it. Of course the content is important as well, but the point is no reader will want to give a piece of writing the time of day unless they are attracted to it in the first place. If they are attracted, they will be affected. Style is personal and unique, but style can also follow guidelines which will in turn help a writer to fulfill her/his purpose and make the life of a reader less complicated and more enjoyable. Works Cited Strunk, William Jr., and E.B. White. The Elements of Style. New York: Longman. 2000. Williams, Joseph M. Style Toward Clarity and Grace.Chicago:The University of Chicago Press. 1995.

The Secret of Ella and Micha Chapter 3

Ella â€Å"I take it that's Micha?† Lila wanders around my kitchen as she tightens a loose ribbon on the waist of her floral dress. â€Å"He's even cuter than in the picture.† â€Å"Yep, that would be Micha.† I kick a box across the stained linoleum floor and flip the light on. It looks the same; seventies themed colors, wicker chairs around the glass table, and yellow and brown countertops. â€Å"So just your dad lives here?† Lila circles the small kitchen and her gaze lingers on the countertop next to the kitchen sink where empty bottles are lining the wall. â€Å"Yeah. My older brother moved out as soon as he graduated.† I adjust the handle of my bag and head for the stairway. The house smells like rotten food and smoke. In the living room, the aged plaid sofa is vacant, and the ash tray on the coffee table is spilling over with cigarette butts. The television is on so I shut it off. â€Å"So where's your dad?† Lila wonders as we climb up the stairs. â€Å"I'm not sure,† I avoid the truth, because he's probably at the bar. â€Å"Okay, where's your mom?† she probes. â€Å"You never told me where she lives.† Lila doesn't know much about me and it's how I want it. Leaving her in the dark, about my mom, my brother – everyone in this aspect of my life – has allowed me to transform into someone who doesn't have to deal with my problems. â€Å"My dad works nights,† I make up a story. â€Å"And my mom moved out quite a while ago. She lives up on Cherry hill.† She leans forward to study a portrait of my mother displayed on the wall; the same auburn hair, pale skin, and green eyes as me. Her smile was just as fake as mine, too. â€Å"Is this your mom?† She asks and I nod. â€Å"She looks just like you.† My chest tightens and I quickly trot to the top of the stairway. At the end of the hall, the bathroom door is wide open. The corner of the porcelain tub and the stain on the tile floor is in my line of vision. My heart constricts tighter as the memories flood me. I'm suffocating with panic. â€Å"Baby girl,† she said. â€Å"I'm going to go take a nap, just for a little while. I'll be back in just a bit.† My knees tremble as I shut the door. My chest opens up and oxygen flows through my lungs again. â€Å"So where does your brother live?† Lila peers inside my brother's room full of drums, guitar picks, CDs, and records. There's a bunch of band posters taped to the wall and a guitar up on a mount. â€Å"I think in Chicago.† â€Å"You think?† I shrug. â€Å"We don't have the best relationship. She nods, like she understands. â€Å"So is he in a band?† â€Å"I'm not sure if he's still in one now. I'm guessing since his stuff's here, probably not,† I say. â€Å"He only played because he was friends with Micha and he's in a band. Or was. I have no idea what he does anymore.† â€Å"Ella, did you lose touch with everyone in your life?† Lila accuses, tucking the pillow under her arm. Her scrutiny makes me uncomfortable. Avoiding confrontation, I turn on my bedroom light and shudder at the sight. It's like a museum of my past. Sheets of my artwork are tacked to the walls, trimmed with a black skeleton border Micha put up when we were twelve to make my room more â€Å"manly.† A collection of guitar picks line the far dresser and there is a pile of my boots in the corner. My bed is made with the same purple comforter and there's a plate with a half-eaten cookie on it, which is growing mold. I toss the cookie into the trash. Hasn't my dad been in here since I left? Lila picks up a guitar and plops down on the bed. â€Å"I didn't know you played.† She positions the guitar on her lap and strums the strings. â€Å"I always wanted to learn how to play, but my mom would never let me take lessons. You should teach me.† â€Å"I don't play.† I drop my bag on the floor. â€Å"That's Micha's guitar. His initials are on the back.† She turns it over and looks at the initials. â€Å"So the hot guy from next door is also a musician. God, I'm about to swoon.† â€Å"No swooning over anyone in this neighborhood,† I advise. â€Å"And since when are you into musicians? I have never, until today, heard you say anything about liking guys who can play the guitar.† â€Å"Since they look like him.† She points over her shoulder toward Micha's house, which is visible through the window of my room. â€Å"That boy is dripping with sexiness.† Jealousy growls in my chest and I mentally whisper for it to shut up. I pick up a photo of my mom and me at the zoo when I was six. We're happy, smiling, and the sun is bright against our squinting eyes. It rips at my heart and I let the photo fall back onto the desk. â€Å"There's a trundle under the bed that you can sleep on if you want.† â€Å"Sounds good.† She slides the guitar off her lap and goes over to the window, drawing the curtain back. â€Å"Maybe we should go to the party. It looks kind of fun.† I gather my hair away from my eyes before dragging the trundle out from under the bed. â€Å"No offense, Lila, but I don't think you can handle one of Micha's parties. Things can get a little bit crazy.† She narrows her eyes at me, insulted. â€Å"I can handle parties. It's you that never wanted to go to any of them. And the one's that I did talk you into going to, you just stood in the corner, drinking water and sulking.† I flop down on the bed with my arms and legs slack over the edges. â€Å"That party is nothing like a college frat party. They're the kind of parties you wake up from the next day on a park bench with no shoes on and a tattoo on your back, with no recollection of what happened the night before.† â€Å"Oh my God, is that how you got that tattoo on your back – the one you refuse to tell me what it means.† She lies on the bed next to me and we stare at the Chevelle poster on my ceiling. â€Å"It means infinite.† I tug the hem of my tank top down, hiding the tattoo on my lower back, and drape my arm over my forehead. â€Å"And I don't refuse to talk about it. I just can't remember how I got it.† She gives me a sad, puppy dog face and bats her eyelashes. â€Å"Pretty please, with a cherry on top. This might be my only chance to go to a party like this. The ones at my old neighborhood consist of limos, fancy dresses and tuxes, and a lot of champagne.† When I don't respond, she adds, â€Å"You owe me.† â€Å"How do you figure?† â€Å"For giving you a ride here.† â€Å"Please don't make me go down there,† I plead, clasping my hands together. â€Å"Please.† She rolls onto her stomach and props up on her elbows. â€Å"He's an old boyfriend, isn't he? You were lying. I knew it. No one can draw a picture like that of someone they've never loved.† â€Å"Micha and I have never dated.† I insist with a heavy sigh. â€Å"If you really want to go see what these parties are all about, I'll take you down there, but I'm not hanging around for more than five minutes.† I give in because deep down I'm curious to check up on the world I left behind. She claps her hands animatedly and squeals, looking out the window one last time. â€Å"Holy crap. Someone's standing on the roof.† They say curiosity killed the cat. â€Å"Come on, party girl. Let's get this over with.† *** About fifteen years ago, this town used to be a decent place to live. Then the factory that supplied jobs to almost the entire town shut down. People were laid off and slowly it began to dwindle into the bottomless pit that it is now. The houses across the street are painted in graffiti and I'm pretty sure my next door neighbor makes moonshine in his garage, or at least he did before I left. Inside Micha's house, there are people loitering in the entryway. I push my way through them and into the kitchen, which is crammed with even more people. On the table is a kegger and enough bottles of alcohol to open a liquor store. The atmosphere is overflowing with the scent of sweat and there are a few girls dancing on the kitchen counters. People are making out in the corners of the living room where the sofas are shoved to the side, so the band can flare on their instruments, screaming lyrics of pain and misunderstanding at the top of their lungs. I'm surprised Micha isn't up there playing. â€Å"Holy crap. This is†¦Ã¢â‚¬  Lila's blue eyes are round as she gawks at the people jumping up and down in the living room, shaking their bodies and thrashing their heads. â€Å"Like a mosh pit,† I finish for her, shoving a short girl with bleached hair out of my way. â€Å"Hey,† the girl whines as her drink spills down the front of her leather dress. â€Å"You did that on purpose.† For a split second, I forget who I am and turn around to blast her with a death glare. But then I remember that I'm the calm and rational Ella; one that doesn't get into fights and beat other girls up. â€Å"What, preppy girl?† She pats her chest, ready to throw down. â€Å"You think you scare me.† Lila bites her thumbnail. â€Å"We're sorry. She didn't mean to.† Chants fill the living room and the chaos is giving me a headache. â€Å"Sorry,† I strain an apology and squeeze between her and the wall. She snickers at me and her friends join in with her laughter as they sashay to the back door. It takes everything I have not to turn around and tackle her to the floor. Lila makes a beeline for the bar set up on the counter, dumps a drop of vodka into a cup, and mixes it with a splash of orange juice. â€Å"Okay, that was intense. I thought she was going to kick your ass.† â€Å"Welcome to Star Grove.† I shout over the music. â€Å"The Land of the Intense and Poverty-stricken, where the adolescents roam free without sober parental supervision and try to start fights wherever they can.† She laughs, takes a gulp of her drink, and her face pinches at the bitterness. â€Å"Try – † She starts, then coughs. She pounds her hand against her chest. â€Å"Are you going to make it?† I ask. Lila has never been a big drinker. She nods and clears her throat. â€Å"I was going to say try growing up where you have to get permission to wear a certain style of shoes.† I give her a mystified look and she adds, â€Å"If it wasn't up to my mother's stylish fashion standards I wasn't allowed to wear it.† I edge out of the way of a guy with blotchy skin and a beanie covering his head, who doesn't seem to mind that he knocks his shoulder into mine. â€Å"I'm sure it wasn't that bad growing up where you did. I mean, at least there was some control.† â€Å"Yeah, there was,† she says uneasily and her eyes quickly scan the room. â€Å"I can't believe there's a live band. It's like being at an outside concert.† â€Å"What? They don't have live bands in California?† I joke with a small smile as I pour myself a cup of water. â€Å"One's that take place outside?† She stirs her drink with a straw. â€Å"Not these kinds of bands. Think much more mellow, with a stage and seats to watch.† â€Å"Sounds like fun to me.† I oblige a smile and glance at my watch. â€Å"Are you about ready to go?† â€Å"Are you joking?† Sucking the drink out of the straw, she hops on the counter and crosses her legs. â€Å"We just got here. Why would we want to go? In fact, we should go dance.† My eyes find the living room, where a guy with dreads smashes his head against the glass plate of a cabinet in the corner and everyone cheers. â€Å"You can if you want, but I'm good.† I gulp my water. â€Å"I like all my bones intact.† Leaning against the counter, I scan through the crowd, curious to see where Micha is. I don't know why I'm so curious, but I am. Occasionally he would bail on his own parties, either to hook up or just get some quiet. I found him a couple of times hiding out on a lawn chair. Each time, he would pull me onto his lap and we would stare up at the night sky, talking about an unreachable future. I spot him in the corner, sitting on the couch with his arm draped around some blonde girl with boobs popping out of her dress. His hair hangs in his eyes and he's nibbling at his lip ring, driving the girl crazy I'm sure. They're just talking, but the girl keeps flipping her hair off her shoulder and her hand is on his chest. It's hard to tell if Micha's enjoying her company or not. He was always difficult to read when it came to girls because he never really looked interested in any of them, but sometimes he would end up with them for the night. I asked him about it once and he said it was all fun, but that he was just killing time until I gave into my inner desire to be with him. I tackled him to the ground for it and it made him laugh. â€Å"Why do you have that look on your face? Like you're undressing someone with your eyes?† Lila asks, following my gaze. â€Å"Oh, is that – â€Å" My eyes dart from Micha. â€Å"I wasn't looking at anyone, just the madness in the living room.† â€Å"Yeah, right,† she says, elevating her eyebrows. â€Å"You totally want him. I can see it on your face.† â€Å"Well, I'll be damned if it isn't the infamous Ella May!† Ethan Gregory grins from the other side of the counter, just behind Lila. He stumbles around the corner, nearly clipping his head on the low ceiling. Before I can respond, he has me trapped in an awkward hug with his long arms that are tracked with tattoos. His grey shirt smells like an ash tray and his breath like beer. He pulls back, ruffling his black hair with his fingers. â€Å"Does Micha know you're here in his house?† I lie breezily, very aware of where Micha is and what he's doing. â€Å"I'm pretty sure he saw me walk in.† â€Å"I doubt that. He's been looking for you for the past eight months.† He glances over his shoulder and nods at Lila, then tips in toward me. â€Å"You know he's been a wreck ever since you took off. You really fucked up his head, Ella.† â€Å"That's such a lie,† I tell him. Ethan and I have never really gotten along very well, which is why the hug confused me so much. We both had the same blunt attitude and butted heads a lot. The only reason we were friends at all was because of Micha. Although, there was one time we did bond for a split second, but we never talk about it. â€Å"Micha doesn't fall apart over anyone. I know him better than that.† His face is flushed and his brown eyes are bloodshot. â€Å"I guess you don't know him as well as you think then, because he's been a wreck. In fact, all he's done for the last few months is search for you.† â€Å"Which explains the party,† I retort. â€Å"I'm guessing that classifies as that.† â€Å"First one in five months,† he says. â€Å"And I think he only did it because he found out where you were and needed a distraction.† â€Å"I know him better than you do, Ethan, and he doesn't fall apart over girls,† I say, but cringe at the fact that I might not know him anymore. A lot can happen in eight months. â€Å"Hey, Lila, we should go. It's getting late.† She glances at her diamond encrusted Rolex and rolls her eyes. â€Å"It's like nine thirty.† â€Å"You're leaving already?† He waves his hand in the air. â€Å"That's nonsense talk right there. You haven't even seen Micha yet and he's gonna be super pissed if he misses seeing you, especially since you ran away from him in the driveway.† â€Å"Actually, I think we're going to hang out for a little while longer,† Lila presses with unrelenting eyes. She mouths, he's hot. Then she fastens her hands together. Please, Ella. Pretty please. Ethan isn't Lila's type. He's got baggage almost as heavy as mine. I start to protest when Micha's deep voice floats over my shoulder and tickles my skin like feathers. Without being able to help it, I let out a soft moan. â€Å"Yeah, pretty girl, stay a little longer.† He's so close that the heat of his body kisses my skin and my insides tremor. His fingers comb through my hair as he whispers, â€Å"You smell so good. God I've missed your smell.† â€Å"I have to get up really early in the morning.† I clear my throat and Lila's eyebrows furrow. â€Å"I need to go home and get some sleep.† He places his hand on the counter, so the crook of his arm is touching my hip. â€Å"You can keep trying to avoid me,† he breathes in my ear, taking a nip at my earlobe. â€Å"But sooner or later you're going to have to talk to me.† His breath reeks of beer and his clothes of smoke. Refusing to crack at the sound of his sexy voice, I turn and face him. â€Å"I don't have time to get drunk and act like a moron.† He's even more gorgeous under the light and more irresistible, even though his eyes are glossed over. â€Å"It's your fault I'm drunk – you drive me crazy.† He descends his voice to a soft purr, the same voice he's used on me many times to get what he wants – the voice that makes me feel alive inside. â€Å"Baby, come on. Please. We need to talk.† He leans in to kiss me. The suddenness throws me off balance and I trip over my own feet. â€Å"Micha, stop it.† I gently push him back and he staggers into the edge of the counter. â€Å"You're drunk. And I'm going home.† â€Å"She's acting weird†¦ like she's way too calm,† Ethan remarks, with a wave of his finger. â€Å"And she's dressed funny, like that girl we use to go to school with. What's her name?† He snaps his fingers. â€Å"Stacy†¦. Stacy†¦Ã¢â‚¬  â€Å"Harris,† I say exhausted. â€Å"And I look like a girl that went away to college and grew up.† Lila slants forward. â€Å"Ella's been this way since I've known her, but I'm really curious what she used to look like with the way everyone keeps talking about her because I can't picture her any other way besides this.† Micha and Ethan trade drunken looks and then howl with laughter. The room quiets down a little as people glance in our direction. â€Å"What's so funny?† Lila frowns and looks to me for help. â€Å"I'm so lost.† â€Å"Nothing. They just think they're funny.† I dodge around Micha, but he seizes my elbow and hauls me back against his chest. â€Å"Hey relax, baby.† He kisses my forehead and gives me his innocent face. â€Å"Please don't go. I just got you back.† Before I took off, the boundaries of our friendship were starting to blur. I thought time would fix this, but it seems like we're back to where we started. As much as I would love to melt into him, it just can't happen. I can't open up like that and lose control. I need control. â€Å"No one's got me back. I'm just here for summer break and only because I didn't have money to rent an apartment,† I say and his expression falls. â€Å"The Ella you knew is gone. She died on that bridge eight months ago.† He blinks, as shocked as I am. His lips part then he clasps them shut, struck speechless. â€Å"I didn't mean that,† I say quickly. â€Å"I'm sorry, Micha. I just can't deal with this.† â€Å"Don't be sorry for being real,† he says, rubbing his forehead with the back of his hand. I force the lump in my throat down. â€Å"I'm sorry,† I say again, and then weave through the crowd and out the back door, inhaling the fresh air. â€Å"What's your problem?† Lila asks as she catches up with me at the edge of my driveway. She squashes her plastic cup and tosses it into the trash can on the back porch. â€Å"I'm so confused. What just happened?† â€Å"I needed to get out of there before I lost it.† I don't slow down until I'm in my room where I close the door and shut the window, locking away the world. I sigh back against the wall, breathing in the quiet. Lila watches me with inquisitiveness as she pulls her hair back into a bun and puts some lip gloss on. â€Å"Ethan and Micha act like you used to be someone else. Like this isn't the real you. Want to explain?† â€Å"Not really.† I push away from the door and collect some pajamas from the duffel bag. â€Å"I'm going to go take a shower. Do you need anything from downstairs?† â€Å"Yeah, for you to tell me why those guys have you so frazzled.† She unclips her watch and tosses it into her purse that's on the bed. â€Å"I've never seen you so worked up like that. You basically had an orgasm when you first saw him.† â€Å"I did not,† I say, embarrassed and annoyed. â€Å"And you haven't seen me that worked up because I'm not that person anymore.† â€Å"Except for when you're around him,† she insinuates. â€Å"When you were talking to him, there was something in your eyes I've never seen before. You were always so closed off to all the guys at parties and in school. Honestly, I thought you were a virgin. But the way you and Micha were looking at each other – you've had sex with him, right?† Pressing my lips together, I tuck my pajamas under my arm, and shake my head. â€Å"No, Micha and I've never slept together, just like we've never dated. But we've been friends since we were kids.† She sits down on the bed and unhooks her sandal. â€Å"But you've had sex before?† I squirm in my skin. â€Å"I'm going to go get ready for bed.† â€Å"Whoa, wait a second.† She leaps off the bed wearing one shoe and jumps in front of the door with her hands spread out to the side. â€Å"Are you saying that you've never had sex? Ever.† I struggle for words she'll understand. â€Å"It's not like I haven't because I don't believe in premarital sex or anything. I just†¦ Look there's a lot you don't know about me and sometimes I have a hard time getting close to people.† She's not surprised. â€Å"Well, obviously. That's totally been a given from day one.† â€Å"What do you mean?† I question. â€Å"I've never told anyone that before.† Not even Micha. â€Å"It means sometimes I can see right through you.† She sighs and counts down on her fingers. â€Å"I've been your roommate for eight months and all I know about you is you're focused on school, you hate to drink, hate being around large crowds, and have never went on a date. I barely know you and being here, I'm starting to wonder if I know you at all.† She knows the Ella I want her to know. â€Å"Can you let me by? I'm really tired.† She gives me a disbelieving look, but doesn't press. She steps aside and lets me by. Relief washes over me because I don't want to get into it with her. Not tonight. Not ever. I never want to get into the night that changed my life. I buried my reckless identity, and I won't dig it up again.

Plato and Socrates Paper

Writing Assignment #1 Philosophy consists of an intellectual battle of differing opinions between the ideal reality and factual thinking. Our own opinions are a way in which were explaining physical or fantastical terms. This intellectual battle rivals between Plato’s philosophy, which consists of a more abstract thinking process versus more scientific philosophers as Thales, who was a more practical thinker attempting to disentangle science and magic, and dared to think about the world without first thinking of God. Osborne, p 5) If you look deeper into this battle you see how it deals with the function of human beings. Plato and Socrates saw many of these scientific thinkers and Sophists as being scatter-brained because of their lack of aesthetic order. The Sophists were more interested in man himself and how he behaved. In this case the basic mechanics in man doing things for himself. While Socrates was left as the opponent to this Sophist way of thinking, he was more conce rned with morality, discovering the just, true, and good.Philosophy to Socrates was more then just a profession of what man can do, rather a way of life in examining ones self. By even using his method of dialect and use of irony Socrates would expose false claims of wisdom to move towards knowledge of man’s own nature, only convinced that it could be achieved through hard work. Like Socrates, Plato’s philosophy had the same intake that man had more to think about then just himself, rather the aim to use reasoning in thinking for themselves. Plato discusses how ideas are real, and the particular is only apparent through his idea about the word ‘horse’.Plato is referring to when said something, as he said a horse, does not necessarily mean the physical animal of a horse, but more then that, more or less the idea of a horse through space and time. This theory of ideas of Plato apparently caused many philosophers to be come scatter-brained, in the sense that at that time many people could not look beyond the physical idea or reality of something or someone. Now though, philosophers like Plato or Socrates for instance, are looking beyond the physical reality and opening the doors to looking at a deeper meaning of life and man himself.We are starting to look at patterns of thought even beyond the physical studies, a frustration with our minds, because we are so dependent on physical studies in the physical world. Everything changes in time and the physical does not allow us to have a universal, or consistency, even with the way we recollect experiences. Knowledge is remembering or anamnesis, the soul or mind has passed through a series of embodied and disembodied states, and the knowledge from these previous cycles needs merely to be awakened. Osborne, p 14) Plato insists that perception and experiences retain a realm of their own. Meaning, if you have an experience in the ideal world then you bring that experience back into the physical real world of objects, and that physical world of objects changes over time. Plato distinguished the difference between appearance and reality in his famous simile of the cave; where a man was prisoner in a cave and saw reality as what he saw in the cave, the furthest being the shadows on the walls.Once he escapes though, he sees the real world beyond the world he saw within the shadows of the caves. Although after returning back to the cave, he sees that he is more stupid then before. That man after being exposed to the real world, beyond what he knew around him, was then overwhelmed by his surroundings, then knowing he had to revert back to his simple reality world of the cave. In order to fully understand knowledge and appearances, Plato improved the theory of hypothesis, showing that if a fact didn’t square with a hypothesis then a new hypothesis was needed. Osborne, p 15) There was always that constant search for a more general hypothesis, ultimately striving for univers al truth, which explains the good. In the Republic, Plato outlines what he believes as his ideal city-state; taking three classes: the elite guardians, the soldiers, and the masses, and three structures: monarchy, oligarchy, and democracy, and puts an emphasis on social mobility amongst these groups. The individual soul is divided into three, which this structure repeats itself in the state. Osborne, p 15) Plato takes his knowledge of the structure and classes within society and applies it to the individual. In order to show where in his mind people stood based on their standing in society, regarding reason, courage, and appetites. Through Plato’s philosophy of moving towards the abstract ideal world of thought, he attempted to solve the issue of being scatter-brained, or lack of aesthetic order. By opening up the door to looking deeper amongst the physical reality of what we know to be and into a whole new dimension into an ideal world utside of space and time, Plato gives u s the ability to enable ourselves to think in the light of reason. Solving the scatter-brained lack of aesthetic order, bringing each one of us to harmony. Bibliography – Osborne, Richard, and Ralph Edney. Philosophy for Beginners. New York: Writers and Readers Pub. , 1992. Print. ——————————————– [ 1 ]. Osborne, Richard, Philosophy for Beginners, page 5. [ 2 ]. Osborne, Richard, Philosophy for Beginners, page 14. [ 3 ]. Osborne, Richard, Philosophy for Beginners, page 15. [ 4 ]. Osborne, Richard, Philosophy for Beginners, page 15.