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Essay about Ishmael - 1588 Words

Ishmael Daniel Quinn’s Ishmael is the story of one man’s quest for knowledge and his desire to â€Å"save the world†. Answering a simple ad in the paper of a teacher looking for students (p4), the narrator is sent on an incredible philosophical journey. The teacher our narrator expects is not that which he finds, however, as our titular character Ishmael, so aptly named by Walter Sokolow (p18) as he sensed the gorilla’s almost divine presence, is that teacher. This teaching is made possible by Ishmael’s miraculous telepathic way of communication (p21). Ishmael’s name, originally Goliath due his size and presumed demeanor (p14), I find incredibly fitting as he, like Abraham’s eldest son, appears to be sent from the heavens though in this†¦show more content†¦The Leavers do not exempt themselves from the laws of competition while the Takers do. The Takers, in exempting themselves from these laws, exterminate and remove all f orms of competition in their way. In a lesson where the narrator role-plays as a Taker trying to convince Ishmael, a Leaver, to live his life-style (p222) he comes upon the conclusion that being human is living on your own terms rather than the gods’ and this is what separates us from the animals (p225). It is Mother Culture who teaches this since the day we’re born (p37), that we should live on our own terms rather than the gods’ and that we know good and evil and evil is living by chance. Thus, Takers are on a quest to find the one right way to do things and hence all our laws and such contrivances come into being. Controlling the world and the universe is the primary goal of the Takers so they no longer have to live in any sort of fear and as such they are a culture of the new whereas the Leavers are a culture of tradition (p205). Quinn relates â€Å"culture† to a mother because of its nurturing qualities and â€Å"among Leaver peoples, Mother Cu lture explains and preserves a life-style that is healthy and self-sustaining. Among Taker peoples she explains and preserves a life-style that has proven to be unhealthy and self-destructive† (p148). That explanation is what sets the two groups inShow MoreRelatedIshmael a Novel by Daniel Quinn 1173 Words   |  5 PagesIn his novel Ishmael, Daniel Quinn discusses the destruction and salvation of the world. By way of a newspaper ad, an unnamed narrator meets a telepathic gorilla, named Ishmael, who had put up the ad to find a pupil with a desire to save the world. Spurred by his benefactor’s obsession with Nazi Germany, Ishmael imparts on the narrator what he knows best: captivity (Quinn 24). Ishmael claims humans of what are considered civilized cultures are captives of a story that in turn keeps the world captiveRead MoreDaniel Quinns Ishmael1012 Words   |  5 PagesIn his novel Ishmael, Daniel Quinn discusses the destruction and salvation of the world. By wa y of a newspaper ad, an unnamed narrator meets a telepathic gorilla, named Ishmael, who had put up the ad to find a pupil with a desire to save the world. Spurred by his benefactor’s obsession with Nazi Germany, Ishmael imparts on the narrator what he knows best: captivity (Quinn 24). Ishmael claims humans of what are considered civilized cultures are captives of a story that keeps the world captive.Read MoreAnalysis Of The Story Of Ishmael And The Story Of Esau 1583 Words   |  7 Pagesstory of Ishmael and the story of Esau, readers could easily find some similarities. Both stories delineates the process of the disfranchisement of the elder sons’ firstborn right, the expulsion of certain characters, and the instruction of God. Those similarities make people to wonder that whether the two stories are just the same kind of story written to teach the believer the same lesson. This essay is divided into three parts and aimed to prove that the disfranchisement stories of Ishmael and EsauRead MoreAnalysis of the Novel Ishmael by Daniel Quinn Essay954 Words   |  4 PagesIshmael begins when the nameless narrator finds a newspaper ad that reads: Teacher seeks pupil. Must have an earnest desire to save the world. Apply in person (4). At first, he is angry, as it reminds him of the counterculture movement of the 1960s, which he participated in only to discover that there was no easy way to save the world. Nonetheless, he responds to the ad, and finds that the teacher is a gorilla. Behind the gorilla is a sign that reads With man gone, will there be hope for gorillaRead More Daniel Quinn’s Ishmael - Paradigms of Yesterday Essay1083 Words   |  5 PagesIshmael:  Ã‚   Paradigms of Yesterday  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Come with me if you want to live, was all that Arnold Schwarzenegger said in his movie Terminator 2: Judgement Day, and after reading Daniel Quinns masterpiece Ishmael, one might well receive the impression Quinn echoes such sentiments. Few books have as much relevancy in this technological, ever-changing world as Ishmael. In the beginning, according to Ishmael, God created Man to live peacefully on Earth, sustained by the fruitful bountiesRead MoreThe By Daniel Quinn s Ishmael, And Plato s Allegory Of The Cave1520 Words   |  7 Pagesthoroughly by many people. Captivity is the main concept touched in Daniel Quinn’s novel, Ishmael, and Plato’s Allegory of the Cave. Plato makes the compelling argument that people are captives of the world of ignorance. Ishmael complements Plato’s allegory by agreeing that there are two groups of people, that it would be difficult to distinguish the truth, and that people are being deceived. Plato and Ishmael were both able to indicate that there are two groups of people. In his allegory, PlatoRead MoreA Long Way Gone by Ishmael Beah544 Words   |  2 Pageshome to their families everyday. Ishmael Beah understood what it was like to have hope in terrible situations. When Ishmael wrote his book â€Å"A Long Way Gone† he was able to show how he had hope when he lost his family, when he went to New York and when he tragically lost hope when he was in the war. Ishmael went through losing not only his siblings, but also his parents. At the very beginning of the book Mattru Jong was attacked by the rebels separating Ishmael from his parents. â€Å"We must go backRead MoreA Long Way Gone By Ishmael Beah1777 Words   |  8 Pages In the memoir A Long Way Gone, author Ishmael Beah describes his survival journey as a lost child in his country, because of the civil war in Sierra Leone, then becoming a child soldier facing war daily, afterward the process that Beah went through during rehabilitation and finally in fear escaping the civil war. Ishmael Beah emotional journey has three stages of development in which Beah utilized music. In the first stage, Beah uses music as a survival mechanism to keep sane and safe. In the secondRead MoreLiterary Techniques Used in the Memoir of Ishmael Beah, A Long Way Gone, Memoirs of a Boy Soldier1050 Words   |  5 PagesIn the memoir of Ishmael Beah, A Long Way Gone, Memoirs of a Boy Soldier, Beah states t hat his life’s journey has been a huge obstacle, but has learned to overcome that struggle by venting while the two contradictory sides continue their battling. Beah accomplishes his goal of explaining to the reader his point of view through the use of rhetorical questions, scenic narration, and parallelism. Ishmael Beah’s apparent purpose is to share personal accounts of his life with his fellow country men, inRead MoreIshmael, By Ishmael And The Narrator1601 Words   |  7 PagesIshmael is an interesting story that begins when the narrator sees an ad for a teacher. Not only is the ad for a teacher, but one that only seeks students whom have a desire to save the world. When he does finally respond to the ad and meets the teacher in person, he realizes his teacher is in fact a gorilla. Communicating telepathically with the gorilla, the narrator hears of Ishmael and his past of captivity. After hearing the impressing story of Ishmael, the narrator accepts him as a teac her returning

Edp250 Pt 4 Free Essays

Introduction The purpose of this easy is to compare and contrast two art lessons in relation to authentic arts learning and integration. The lessons will be sourced from the internet and both will be examples of using objects in the natural environment to create a painting. The lessons were designed for students in grades two to six. We will write a custom essay sample on Edp250 Pt 4 or any similar topic only for you Order Now Discussion Authentic arts is as noted by Dinham,(2011) arts that incorporates learning involving integration necessitates, making connections across the curriculum between subject areas or disciplines and providing opportunities for students to witness and engage the relationships, transfer their knowledge and apply their learning through these connections. To make this happen there needs to be a move to prepare classroom teachers to become aware of art, and ways of delivering a successful lesson. Smilan and Marzilli miraglia (2009) notes, that â€Å"teachers need clarification about what art integration is and what it entails. We believe that true authentic art- integrated learning places visual arts content at the centre of teaching and learning (p. 39)†. Meaning every teacher must continue to up skill their own knowledge of art and understands the elements to delivering an authentic art lesson requires(Dinham,2011). Art is more than painting, drawing and play dough; it is not merely a time filler at school, so teacher can have a break, or a bit of fun. Dinham, (2011) suggest that teachers need to understand what art gives their students, and how art provides a connectedness to society and their own identity and meaning. Art provides students the opportunities to problem solve, express their needs and emotion, be creative, try new experience and more importantly teachers need to appreciate authentic arts programmes as a significant importance in the curriculum. Lessons Lesson one demonstrates a well prepared art lesson and in lesson two, many elements of creating an effective authentic arts lesson are missing. Both lesson one and two require students to use natural items found in the environment to create a painting. Both lessons would be suited for students in grades two to six, and comprises elements of authentic arts. Below is a table that show what elements of authentic arts are essential when delivering an arts class. Required characteristics| Example| 1. Has connections across the curriculum| Lessons makes links to other curriculum such as maths, history etc. | 2. Uses understanding of multiple intelligences and different learning styles| Such as Howard Gardner concepts of multiple intelligence. | 3. Is themed and examines the theme in different areas| Such as dinosaurs, outdoor garden, countries. 4. Uses different modes of learning incorporated into different areas| Such as reading, singing, creating, comparing, contrasting, discussing. | 5. Lessons relate to real life tasks, that draw on a range of knowledge and skills across the curriculum| Lesson would encourage students to use prior knowledge of the task at hand. | 6. Learning’s provide opportunity for students to see relationsh ips, transfer and apply learning and make connections across the curriculum| The lesson has been enriched with elements of real life experience and understanding. | 7. Activities are Instrumental and/or intrinsic| Instrumental, lessons that extend beyond the immediate lesson. Intrinsic lessons relates to the learning gained through the lesson Dinham,(2011). | Table is adapted from PowerPoint presentation Integration. Curtin University, (2012). Using this table as a guide the below lessons well be corresponded with the number from the above table showing which part of the lesson address each charatritcs. Lesson one: Retrieved from http://contemporaryartscenter. org/images/lessonplans/mughal-miniatures_natural-beauty. pdf Mughal Miniature Paintings: Natural Beauty Grades: 2nd-7th Visual Arts Developed By: Kristen M. Woods Lesson Description: Mughal miniature painting originated during the 16th century in the Mughal Empire which spanned what are now India, Bangladesh, Nepal, and Pakistan. This art form is marked by careful attention of small detail, lush jewel tones, epic subject matter, and miniature scale. All of the Miniature artists that are participating in the Contemporary Arts Center’s exhibition Realms of Intimacy have studied at the National College of Arts (NCA) in Lahore, Pakistan. The NCA is renowned for its program dedicated to the centuriesold tradition of Mughal miniature painting which flourished from 1526 to 1857. The extremely selective school takes only a dozen of its accepted students to pursue the intensive major of miniature painting. This major at the NCA mimics a traditional eight year apprenticeship in two years of schooling. The meticulous technique begins with the posture of the students. The students are required to be seated on the floor for hours a day, hold their papers close to their eyes and brace their painting arms against their body. Their posture is essential to mastering the tiny brushstrokes needed to create pieces with such fine details. They spend their first year and a half copying historical works and learning to make their own tools. Only in the final half year are they allowed to explore their own creative devices. There is an extreme mental discipline that goes along with every aspect of being a miniature painter. The style is based on old traditions. One brush is still composed of a single squirrel hair. Mussel shells are used as mixing bowls for their organic paints. These natural paints are made from raw materials like vegetables, fruits, oil, soil, lime, indigo and lapis lazuli and on occasion eggs, gold powder, and silver foil. Through this program students must master ultra-fine figure drawing and brushwork, tea staining of page borders and burnishing of paper surfaces; all essential to practices that were used centuries ago. For this project, students will explore natural materials that can be used to dye paper and make paints then use their homemade materials to make their own versions of Mughal miniature paintings Objectives: ? Use problem solving to figure out natural materials they can use and combine to make paints and also dye paper Learn about the process that Mughal miniature painters go through when creating a piece Create their own composition based on Mughal miniature paintings Materials and Resources: Watercolor paper Tea, coffee, and cranberry juice Lard, Butter, Solid and liquid vegetable oil Spices, mustard, dirt, grass, fru its and vegetables, and other natural materials that can stain Paint brushes Small containers with lids (paint storage) Aprons/paint shirts Links and Books on natural paint mixing and Mughal Miniatures; http://www. hyoomik. com/images/egg. html http://www. sairawasim. com/ http://www. ambreenbutt. com/web/home. php http://www. ambreenbutt. com/web/works. php Whiles, Virginia. (2010). Art and Polemic in Pakistan: Cultural Politics and Tradition in Contemporary Miniature Painting. Edwards, Lynn. (2003). The Natural Paint Book. Critical Questions: How are cultural practices and traditions passed down and continued over time? Why are they important? Is process important in relation to product? What if miniaturist painters used synthetic materials? Would it change the look of the work? The Emotion? Activities: Preliminary Discussion: Discuss process with students; how artists begin a piece as opposed to showing them the finished product first. Then look through some images of contemporary Mughal Miniaturist paintings by Ambreen Butt and Saira Wasim whom still use tea staining and hand mixed pigments from natural materials. Discuss briefly the imagery and subject used in the works and the meanings behind them. With older students you may be able to get them to discuss some of the political satire seen in Saira Wasim’s work Art Activity: Start the project by dying paper. Using tea, coffee, or even fruit juice; have students dip a piece of watercolor paper into a large container full of the liquid of their choosing. Leave the paper in the liquid for at least 15 minutes and check on how well the liquid is dying the paper (don’t leave the paper in for too long because it will start disintegrating). Once the paper has a nice color all around, take it out and leave it to dry for about 24 hours. Next, have students mix their paints. Find some things either outside or maybe in the refrigerator that can stain. Things like grass, dirt, berries, flowers, mustard, and spices would work well. Have students use lard, solid or liquid vegetable oil, or butter to grind and mix their natural materials together making a thick paint. Have each student make at least three different color paints. They may share paints when it’s time to use them. Have students use a paint brush with their homemade paints to create their own miniature painting on their dyed paper. This project is more about process and nderstanding materials so the composition can be very simple especially with younger students. You might suggest they do a composition showcasing the natural materials they use to make their materials like flowers, fruit, etc. Assessment: Students have dyed a piece of paper using tea, coffee, or fruit juice Students have mixed their own paints using fat and natural materials Student s have used their paints and dyed paper to create their own miniature paintings Lesson two: Retrieved from http://www. kinderart. com/painting/plantdye. shtml PLANT DYE PAINTS Grade: 2-6    †¢    Age: 6-12 †¢Ã‚   Written by: Kim Swanger [Kim is a K-3 art teacher at Lakeview and Central Elementary Schools in Council Bluffs, Iowa. ] | Objectives: Students will learn that plants are a source of natural dyes and paints. This is a good lesson to show how pioneers or early civilizations may have used plant dyes to color cloth. What You Need: * crock pots * beets * spinach or kale * black walnuts in the shell * dry onion skins * paint brushes * paper What You Do: 1. Discuss with the students that before we had synthetic dyes, people had to make their own paints and dyes using plants and other resources available. Show the students the nuts and vegetables you have and ask how the pioneers may have used these materials. 2. The night before the painting lesson, place beets, spinach or kale, walnuts, and onion skins in separate crock pots with enough water to barely cover them. Cook all night. The following morning, the water in each of these pots should have turned into natural dyes. The beet water will be magenta, the onion water will be amber, the spinach or kale water will be a light green and the black walnut water will be brown. 3. Pour a small amount of paint into bowls and ask students to smell them. Discuss which vegetable made which paint. 4. Provide brushes and paper (plain or coloring pages) and permit students to paint using the natural dyes. 5. After the painting experience, ask students what other natural materials might make dyes the pioneers could have used. Experiment with student suggestions. Note: If black walnuts are not available, VERY STRONG coffee or tea makes an adequate brown dye. Berries can also be used to make colorful dyes. Currently, red dye is commonly made from a parasite that lives on cacti. Both lessons are similar in terms of requiring students to use natural objects to create a painting; However a teacher using lesson one, their students would gain a deeper understanding of authentic art, and acquire skills that they can use across curriculum, as it demonstrates modes of learning and teaching strategies which enables each students to expression and understand what is required. It also uses scaffold learning, which enable students to see examples of what they could achieve, but also gives the history and reasoning behind why they are required to do this activity. This enables students to take an educational value from the lesson, rather than doing it just for merely fun (Dinham,2011). Although lesson two also has real world connection and can be intergraded into other curriculums it is its lack of depth to which it can do this that makes it the inferior of the two lessons. Lesson two can link to history whereas lesson one can relate to multiple curriculums, making this a more intergraded lesson to benefit student learning’s (Dinham, 2011). Lesson one has provided more elements of real life experience for students that they can compare contrast between a variety of objects they have used from the environment, from vegetables to plants and so forth. Whereas lesson two only focuses on one element. Both lesson one and two are instrumental meaning that they extend beyond the immediate arts experience (Dinham,2011) but again it would be lesson one that take this experience further as it looks at the impact the lesson has upon students learning as a whole. Overall, lesson two does not tick the boxes for authentic arts integrated learning in the way that lesson one does. Lesson one provides a real and authentic learning experience that incorpatres connections to other areas of the curriculum, using modes of learning and teaching strategies which encourage and support every learner in the classroom regardless of skill or ability, all essential fact in delivering an authentic arts experience. References Curtin University, (2012). Course Notes. PP2 Integration. Retrieved fromhttps://lms. curtin. edu. au/webapps/portal/frameset. jsp? tab_tab_group_id=_4_1url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_47595_1%26url%3D Dinham, J. (2011). Delivering authentic arts education. South Melbourne, Victoria: Cengage Learning. How to cite Edp250 Pt 4, Essay examples