The history of Chinese Immigration to USA Research Paper

The history of Chinese Immigration to USA - Research Paper Example Wherever they went, the Chinese immigrants brought with them their language, culture, social institutions, and customs; and as time went on, they made lasting contributions to the United States as they tried to become an integral part of the U.S. population. (â€Å"Chinese immigration to the US†) Privation of the Chinese immigrants to USA in the 18th century Integration has not been an easy one because the Chinese underwent a long period of discrimination from their adopted country. At the outset, they were at once discriminately treated from among the European immigrants and other racial minorities. They were the first immigrant group singled out for denial of citizenship by the U.S. Congress in 1882. Chinese immigration is separated into three periods: 1849 – 1882, 1882-1965 and 1965 to present. The first period of immigration that begun with the California Gold rush in 1848 (Golden Venture) was cut short by the Chinese Exclusion Act of 1882. The Exclusion Act suspend ed labor immigration from China for ten years (USA Chronology). During this first period, the Chinese enjoyed the freedom to travel and become contract laborers in America. Thousands of young male peasants from China were recruited to work in the mines, toil the fields as agricultural workers, and become construction workers to construct a vast railroad network, reclaim swamp-lands, build irrigation system, develop the fishing industry, and work in the labor intensive manufacturing industries in the western states. All along, these Chinese workers felt the anti-sentiments of their presence since they were precluded on becoming permanent settlers. Because of this sentiment, the Chinese immigrants kept to themselves an intention of going back to China when the time comes to enjoy the benefit of their retirement, and to advance their own well being while they are in U.S. According to estimates, there were about 110,000 Chinese populations during the first wave of immigration. The secon d wave of immigration showed a very limited number of Chinese immigrants to U.S. This is caused by political tensions between the U.S and the Chinese governments that further curtailed the chance of Chinese immigrants to enter America. Because America felt Chinese laborers were no longer needed, beginning in 1882, the naturalization and immigrations became very strict to them. At the onset of 1882, an economic hardship was also felt in the U.S., so much so that European Americans also had to compete with the works reserved for the Chinese. This era is also characterized by the beginning of racial discrimination and hatred because of competition and anti-Chinese riots were frequent scenes in the streets of San Francisco. These scenarios put pressure on the U.S. government so that the exclusion act was promulgated (The Library of Congress). A quota allowing only 108 Chinese immigrants was set; so from the period 1888 to 1965, only diplomats, merchants and students and their dependents were allowed to enter the U.S (â€Å"Chinese Americans†) Even those Chinese, who are already in the U.S., are largely discriminated upon, and had to confine their presence in segregated places called Chinatown. They were denied democratic rights, and access to it thru legal procedures was not successful. The third wave of Chinese

A Classic Shakespearean Comedy Essay Example for Free

A Classic Shakespearean Comedy Essay The Chicago Shakespeare Theatre at Navy Pier manages to combine an extravagant and lavish, while at the same time still very intimate, theatre setting with professional acting performances in every production shown. However, the production of As You Like on March 5, 2011 perhaps best exemplifies these significant qualities crucial to Shakespeare plays. Directed by, Gary Griffin, the production is able to captivate the entire audience for the complete duration of the play through its brilliant illustration of spectacle as well as strong narration. However, the most significant factor of the production would undeniably be its inclusion of an alliance of narrative, dramatic, and spectacle elements all intertwined in the overall production. Griffin depicts a traditional Shakespearean comedy with the use of vivid set design and perfect actor selection in the production of As You Like It in a way that separates the comedic production from any other previous Shakespeare play I have seen. The production does so by being able to masterfully combine Shakespearean comedic elements with deeper connotations about self-identity and the power of love crucial to all productions of As You Like It. The thematic elements prevalent throughout the production are contemporary in regards to all Shakespearean comedies in that the play revolves around mistaken identity, the many forms of love, and the resolutions of all misunderstandings in the end of the play. However, the way in which Griffin’s overall production is able to enthrall the audience through brilliant acting, audience inclusion, and beautiful theatre design in such a way that the audience isn’t forced to exert much personal imagination makes As You Like It a classic example of an ideal Shakespearean production. The Chicago Shakespeare Theatre, the producing theatre for director Gary Griffin’s adaptation of As You Like It, is a professional theatre venue and company located on 800 East Grand Avenue in Navy Pier. The theatre is ornately designed with the intent to transform the audience’s connotation of setting and to make them believe/ give the appearance that they are in an actual Shakespearean Theatre without the use of their imagination. The theatre space used for the production of As You Like It is called Jentes Family Auditorium and features a total of 510 seats on three levels surrounding the courtyard theatre’s â€Å"thrust stage†. This specific theatre was modeled/ designed with inspiration coming directly from the Royal Shakespeare Company’s Swan Theatre, evident at first glance, and thus creates an immediate intimate relationship between the actors, stage/ set design, and the entire audience seated around the three sides of the stage. While part of the set is elevated as a â€Å"stage†, the entire area/ space of the theatre is used by the actors throughout the production; when this is incorporated with the fact that no seat is more than thirty feet from the stage, a feeling of intimacy between actors and audience is ever-present. For instance, the audience is engaged into the action of the play immediately by the way in which the stage extends through the middle of the first-floor seating allowing the appearance/ feeling of the actors walking directly out into the middle of the audience members. In an analysis of the overall production of As You Like It it is evident that even though the set, stage, and use of props and vivid images are riveting, the inclusion of an â€Å"all-star ensemble† of some of Chicago’s finest actors is truly the underlying nature in exemplifying the statement that the production is indeed Shakespeare’s â€Å"glorious romantic comedy†. The actors play courtiers, clowns, philosophers, and locals all who are under the classic comedic spell of the trials and conquests of love as the main character, Rosalind, must disguise herself as a boy in order to escape the royal court. The characters, following Rosalind’s lead, venture into the timeless Forest of Arden where Rosalind finds herself trapped by love and mistaken identity in her attempt to teach the man she loves how to win the women of his dreams. A traditional element present in the production of Shakespearean comedies such as As You Like It, is undeniably the inclusion of both a dominant and a secondary major female characters. The significance of the secondary female lead is often determined by the skill of the actress portraying that role. The actress can make the character seem somewhat mysterious and forgettable, as seen by the DePaul student’s portrayal of Hero in Much Ado About Nothing, or she can appear as significant and mesmerizing as the lead female. In Griffin’s production of As You Like It this notion of the importance of ctor/ character portrayals is illuminated. For instance, one of the most memorable characters in the entire play is Cecilia, the secondary female character played by Chaon Cross. Cross is able to depict the comedic character almost perfectly through well-rounded acting and clear knowledge of Shakespearean language. In Cecilia’s character, Cross symbolizes a playful, charming, immensely loyal, witty and charismatic supporting female role. This is apparent in her juxtaposition of speech and comedic body language. Crucial plot and thematic elements of As You Like It are depicted by the actors as well. For instance, the review on human life illustrated by the character Jaques, played by Ross Lehman in this production, is witnessed in  Lehman’s acting skills in his performance as Jaques. He emphasizes the faults and ambitions of life in a funny and touching manner by offering both comedic and emotional moments for the audience throughout the play. There are many other characters in the production that portrayed memorable performances illuminating the underlying themes and comedic elements present in the correct use/ knowledge of Shakespearean language and acting. These actors included:   Kate Fry as Rosalind, Matt Schwader as Orlando, Dennis Kelly as Adam, Phillip James Brannon as Touchstone, Matt DeCaro as Duke Frederick, Kevin Gudahl as Duke Senior, and Elizabeth Ledo as Phoebe. Each character possesses unique and intricately detailed costumes and character traits crucial to the understanding of the overall production. The costumes are vivid with detail and evoke the use of imagination and feeling that the audience is witnessing the action of the play within actual setting of certain scenes (whether the orchard, royal court, or forest). The differences in characters’ personality, social class, and hierarchy alongside other characteristic elements are illuminated through the costumes intricate glamour and detail juxtaposed with a more simplistic but still vibrant use of props and set. In addition to individual actor performances, the Chicago Shakespeare Theatre’s production of As You Like It signifies the epitome of Shakespeare’s ’â€Å"glorious romantic comedy† through the use of a unique/ one of a kind setting. The set designs present are an attractive and ubstantial visual supplement to the action taking place on stage at every point throughout the progress of the play. This can be perceived in almost every scene of the production but is most notably present in the opening scene, depicting a lush/ vivid apple orchard with minimalistic use of props, as well as the more luxurious forest setting that accompanies it. The scenery presented by lighting, sound, props hanging from the ceiling, and the perception of depth in the stage prominently adds to the attraction and understanding of the production. The lighting and music of the production present in set/ scene changes enhances the plot developments as well as the overall journey and adventure portrayed in the play’s narrative nature. The set design of various different scenes is thus completely believable and enchanting; employing the audience’s complete inclusion into the imaginative world of the production. Alongside the appearance of setting in the various scenes, the intricately detailed costumes are exquisite and add a visually appealing aspect to the performances of the actors. At the same time, the creativity and uniqueness of each character’s costume mandates the audience’s teleportation from the feeling of watching a traditional play to the feeling that they are in fact present in this magical/ timeless world of As You Like It. Overall, As You Like It, a production shown by the Chicago Shakespeare Theatre, is a professional and glamorous portrayal of traditional/ contemporary Shakespearean comedy. Every aspect of the theatre and production is employed into the narrative element of the play which makes this adaptation of As You Like It unlike any other theatre experience. For instance, the elaborate theatre space is perfect for setting the mood of seeing a professional Shakespearean production and the way in which the stage is the center of vision no matter where you sit in the audience allows sound to travel in a surreal, surround sound manner only enhances this feeling. The actors’ use/ knowledge of Shakespearean language in conjunction with their use of space (entire theatre used as stage while most of the action is mere inches away from the first row of audience members) makes the production flow well while at the same time enhancing the professional feel of the production as well. In this professional nature of the production nearly every aspect and element of Shakespearean comedy is exemplified. Through Gary Griffin’s production of As You Like It, the Chicago Shakespeare Theatre is able to directly exemplify the notion of ideal Shakespearean plays and why these plays still remain so popular and relevant in our society today even four hundred years later.

A Definition Of Collaborative Learning English Language Essay

A Definition Of Collaborative Learning English Language Essay What is collaborative learning? This article looks at the definitions of collaborative learning and provides the reader with an overview of the definitions of collaborative learning, its various forms, and its goals, uses and scope vis-a-vis the traditional classroom and school system. It was midnight on a school night. I saw the light on in my 16 year olds room and went to tell him to go to sleep. His door was uncharacteristically open and I could hear animated voices from inside his room. I found him on Skype with a couple of friends. They were quizzing each other, working out numericals and clarifying each others concepts for a big physics test next morning. Have you worked on your homework math problems with a friend? Did you ever get together with peers in a group to understand a difficult theory in college? Did you ever brainstorm with other classmates on a school project? Weve all done collaborative learning at some stage of our lives; we just didnt know what to call it. The very dictionary definition of collaboration will tell us what collaborative learning means. The word collaboration brings together the Latin col- meaning with or together with the Latin labor or toil. For educationists, collaborative learning is a comprehensive term for a variety of educational approaches involving joint intellectual effort by students, or students and teachers together.1 How can teachers use Collaborative Learning? Collaborative Learning happens when students work together or are made to work together in pairs or groups: to understand or make meaning of a concept or text to create a solution for a problem (given in class or self-discovered) to explore a topic, a question, an area of knowledge to apply the principles learned in their curriculum to conceive of new ways to apply the knowledge they have learned in class to construct a tangible article or a physical object (for example, a report, a term-paper, a model volcano, a recycled-paper bag, a solar panel, an  electric  vehicle) out of the course-learning The above, of course, is an indicative and not a comprehensive list of the ways in which collaborative learning may be used by teachers. Forms of Collaborative Learning Many educators seem to confuse collaborative learning with the more structured approach of cooperative learning. Let us say that cooperative learning is a type of collaborative learning. The developers of cooperative learning models and strategies have laid out several specific components that teachers must control: a small, inter-dependent group determined by the teacher, face to face interaction, carefully structured activity leading to the accomplishment of a predetermined goal, individual accountability of every member of the group and a groups assessment and processing of its own work as a team.2 Other types of collaborative learning that may be used both inside and out of a classroom structure are discussions,  brainstorming  sessions, peer-teaching groups, workshops, team projects, group field-work, study groups, seminars, simulations, role-plays, case-studies etc. Collaborative learning, thus, can be specific, controlled and structured or it can be spontaneous, experiential and totally open-ended. Collaborative Learning in the traditional school system Of course, the traditional school system is at odds with the very spirit of collaborative learning. Schools, as they were conceived and as they are still administered, are essentially authoritarian constructs. Lectures are the preferred method of teaching and the formal physical, emotional and psychological set-up of the traditional classroom is confrontational. Teachers are still equated with discipline and consequences. They are the transmitters of knowledge and the evaluators of the students grasp of the information they have given to the students. They are the regulators of the competition that is encouraged between students through the assessments and recognition and rewards for individual achievement. Conversation is discouraged in traditional classrooms where learning is a solitary pursuit of an individual student faced with the information being given to him from the front of a classroom by a teacher who is the expert instructor. There are definitive syllabi for every subject with course content to be covered in a set period of time; there are lecture plans for every teaching hour and teachers are under pressure to ensure that their students have ingested the carefully planned and delivered information and are capable of regurgitating it as required during formal assessments. Memory is more important than assimilation. In collaborative learning, on the other hand, the process of learning is basically more important than what is learned. Students are taught, by hands-on experience, how to learn and not what to learn. When they learn, assimilation of the material is an absolute requirement as a student must take the material, absorb it, make it his own and then present it or teach it to others. Mere memorizing will not help the collaborative learner. Changing paradigms of an evolving system Collaborative learning, by its very definition, takes the power away from the teacher as guru and distributes that power among the students as self-sustaining, motivated learners who take ownership and responsibility of the entire process of leaning in an interactive, talking-to-each-other and engaged manner. The teacher becomes merely a facilitator, an expert designer of a students intellectual process and a mid-wife of a more emergent learning process.  3 The traditional us versus them power-structure of the traditional school is obviously not conducive to the mutual trust that is required for purely collaborative learning. It is also relevant to point out here that like teachers, students too have to be prepared to take on the challenges and opportunities offered by collaborative learning. I must emphasize that collaborative learning is a tool, just like other teaching methodologies. It is up to the school and the teacher to use this or another tool depending on the objective, the task, the group and the preparedness of the students. A group-discussion may enhance a lecture; it cannot and should not replace it until both teachers and students are ready for the complete shift to another paradigm. As more and more teachers change their classroom strategies and re-orient their relationship to the curriculum from the traditional transmission to transactions that lead to transformations in the personal and social relations of the student to his curriculum,the school system is also slowly evolving and accommodating itself to the more student-centered, process-oriented and non-competitive model that defines collaborative learning. End-Notes 1. Smith, BL and MacGregor, JT, What is Collaborative Learning? in Goodsell, Maher, Tinto, Smith MacGregors  Collaborative Learning: A Sourcebook for Higher Education; National Center on Postsecondary Teaching, Learning and Assessment; Pennsylvania State University: 1992. 2. David, Johnson Holubec.  Circles of Learning: Cooperation in the Classroom. Edina, MN: Interaction Book Company 1990 3. Smith and MacGregor op.cit

Genetic Engineering: A Blessing or a Curse? Essay -- essays research p

Introduction Science is a creature that continues to evolve at a much higher rate than the beings that gave it birth. The transformation time from plant, to ape, to human far exceeds the time from a calculator to a computer. However science in the past has always remained distant. It has allowed for advances in production, transportation, and even entertainment, but never in history has science be able to so deeply affect our lives as genetic engineering will undoubtedly do. With the new technology there will be, of course, people against it. People who are afraid that genetic engineering and cloning are nothing more than â€Å"toys of the devil†. They fear that it is unsafe. However, I believe genetic engineering is a safe and powerful tool that will yield extraordinary results, specifically in the field of medicine. It will usher in a world where gene defects, bacterial disease, and even aging are a thing of the past. By understanding genetic engineering and it’s history, discover ing it’s possibilities, and answering the moral and safety questions it brings forth, the blanket of fear covering this remarkable technical miracle can be lifted. The first step to understanding genetic engineering and embraccing its possibilities for society is to obtain a rough knowledge base of its history and method. To start off with, you must somehow find an understanding of how individuals pass on characteristics to their offspring. For instance, in regards to eye colour, a child could receive one set of genes from his or her father that were encoded one blue, and the other brown. The same child could also receive two brown genes from his or her mother. The conclusion for this inheritance would be the child has a three in four chance of having brown eyes, and a one in three chance of having blue eyes. Genes are transmitted through chromosomes, which reside in the nucleus of every living organism's cells. Each chromosome is made up of fine strands of deoxyribonucleic acids, or DNA. The information carried on the DNA determines the cells function within the organism. "The new science of genetic engineering aims to take a dramatic short cut in the slow process of evolution". In essence, scientists aim to remove one gene from an organism's DNA, and place it into the DNA of another organism. This would create a new DNA strand, full of new envcoded instructions, instru... ...y, it will enjoy its time of realization and come into full use in society. The world is on the brink of the most exciting step into human evolution ever, and through knowledge and exploration, should welcome it and its possibilities with open arms. - Thomas Works Cited  · "Bioethics: an Introduction." http://www.med.upenn.edu/~bioethic/outreach/bioforbegin/beginners.html. Internet.  · â€Å"Genetic Engineering.† http://dspace.dial.pipex.com/srtscot/geneng0.shtml. Internet. -*Good Site*-  · â€Å"Biosaftey.† http://www.icgeb.trieste.it/~bsafesrv/. Internet.  · â€Å"Genetics and cloning.† http://library.thinkquest.org/19697/. Internet.  · Roberts, Michael. Biology: Nelson Science. Nelson, Thomas Nelson and Sons ltd., 1995, Britanica. The New Encyclopà ¦dia Britanica. University of Chicago, Pan American, 1988. Yount, Lisa. Genetics and Genetic Engineering. US, Facts on File, New York  · Clarke, Bryan C. Genetic Engineering. Microsoft (r) Encarta. Microsoft Corporation, Funk & Wagnalls Corporation, 1998.  · Lewin, Seymour Z. Nucleic Acids. Microsoft (r) Encarta. Microsoft Corporation, Funk & Wagnalls Corporation  · http://www.greenpeace.org/~geneng/. Internet. Written by Thomas Grome

Reading and Writing Essay

Learning how to read back in 1970 is quite different from learning how to read in the world we live in today. Learning to read was somewhat difficult for me as a child. We didn’t have the fancy reading tools back in the day, such as: Hooked on Phonics or Phonemic Awareness. Looking back over my life, I can remember when I was in the first grade, about six or seven years old and I brought home my first report card. On my report card my teacher pointed out an area of weakness in reading. I can still hear my father saying â€Å"Susie are you having trouble reading? † I would respond as any typical six year old child would do by shrugging my shoulders and saying â€Å"I don’t know. † My father was a concerned parent and wanted to help his child. He didn’t want to see me struggle in school nor did he want to see me fall behind. My father was determined he was going to help me improve my reading skills and by doing so my reading grade would improve also. So therefore, my father set up a strategy plan. Every evening after school my father and I would sit down at the dinner table and work on improving my reading skills. His first step was to see if I could sound out all the letters of the alphabet. Once he realized I was able to sound out all letters in the alphabet, his next step was to determine if I could sound out all the vowels: long, short and house top vowels too. The third step was to begin sounding out small words such as: the, cat, red, run, ran, like etc. Once I began to get comfortable reading on my own while my father prepared dinner for my two brothers and I, he would have me to sit at the dinner table and read aloud to him fifteen minutes each day. Eventually with with all the hard work and dedication my reading skills gradually improved. After all, they say practice makes perfect. As I grew older I started enjoying reading much more than I ever realized. I had to find out what type of books and magazines I enjoyed reading. In other words, I had to find my reading niche. I enjoy reading books like Mama, How Stella got her Grove Back, The Autobiography of Malcolm X, A Day Late and a Dollar Short by Terry McMillan. Reading can be very enjoyable, relaxing and mind stimulating as well. Reading exercises our brain. One can self improve while gaining experience from other people by reading. Reading is knowledge and power. Reading teaches children about the world around them. Reading develops a child’s imagination. Now that I have returned to college, reading and writing is a common part of everyday life. Every semester I have had several different assignments that required reading and writing skills. I have had to do an essay, public speaking presentations which involved reading and writing. Reading is very important because one can explore themselves to new things. One can also self improve while gaining experience from other people. Reading can be used for connecting your brain and it can also boost ones imagination and creativity. Reading exercises ones brain. Many factors play a vital role in a child’s growth and development. Reading develops a child’s imagination. Children who read do better at school. Reading relaxes the body and calms the mind. Reading is a great source of entertainment. This is an important point because these days we seem to have forgotten how to relax and especially how to be silent. In almost everything we do reading and writing is a vital part of our everyday lives.

Fraught Is a Heavy Word

Fraught Is a Heavy Word â€Å"Fraught† Is a Heavy Word â€Å"Fraught† Is a Heavy Word By Mark Nichol Fraught, one of my favorite words, is fraught with meaning. The term, a variant of freight, was originally a noun and an adjective, with a verb form of fraughten. However, the noun, meaning â€Å"cargo,† disappeared from English (though it survives in Scottish), the verb is entirely extinct, and the adjectival form, which means â€Å"laden, full of† has survived only (with the exception, again, of Scottish) in its centuries-old figurative sense. Now, when a situation is fraught, it is accompanied by, or full of, a feeling usually danger, peril, or some synonymous (and usually sinister) quality. There are exceptions: Note the use in the first paragraph of this post, and a place can be said to be fraught with memories, which may be positive, negative, or a combination thereof. However, because of the word’s often negative connotation, fraught has developed an additional sense of â€Å"uneasy,† and when used this way, it requires no object. For example, one might write, â€Å"We found ourselves in a fraught predicament.† In conversation and in writing, use of the word is fraught with consequences: For one thing, it’s a fairly obscure term, though â€Å"fraught with (blank)† constructions are common enough to form a class of clichà ©s. Furthermore, the use of fraught in the sense of a situation involving emotional turmoil may be unfamiliar to your audience. But fraught is loaded with the strength of precision its meanings are sparse and specific, so it packs a punch and you should hesitate to allow a potent word’s relative rarity to disqualify it from your vocabulary. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Comparative Forms of AdjectivesOne Sheep, Two Sheep, One Fish, Two Fish . . .Artist vs. Artisan

Pope Leo III - Charlemagnes Pope - Pope Saint Leo III

Pope Leo III - Charlemagne's Pope - Pope Saint Leo III Pope Leo III was also known as: Charlemagnes Pope Pope Leo III is noted for: crowning Charlemagne Emperor and establishing the precedent that only the pope could confer the imperial crown. Leo was also physically attacked in the streets of Rome by supporters of his predeccessor. Occupation Role in Society: PopeSaint Places of Residence and Influence: Italy Important Dates: Elected pope: Dec. 26, 795Attacked: April 25, 799Died: June 12, 816 About Pope Leo III: Rather than keeping the papacy independent of secular authorities, Leo deliberately took steps to ally with Charlemagne and his growing empire. Attacked in the streets of Rome by supporters of his predecessors nephew, Leo sought the aid of Charlemagne and eventually crowned him emperor, establishing an important precedent. As pope, Leo was adept in diplomacy and managed to keep his Carolingian allies from exerting any real influence on matters of doctrine. He died in 816. For more about Leo, visit your Guides Concise Biography of Pope Leo III. More Leo III Resources: Concise Biography of Pope Leo IIIImage of Leo crowning Charlemagne Leo III on the Web Pope St. Leo IIIFairly substantial bio by Horace K. Mann at the Catholic Encyclopedia.Pope Saint Leo IIIConcise collection of useful data, heavily hyperlinked, at the Patron Saints Index. Leo III in Print The links below will take you to a site where you can compare prices at booksellers across the web. More in-depth info about the book may be found by clicking on to the books page at one of the online merchants. by Richard P. McBrienby P. G. Maxwell-Stuart Chronological Index Geographical Index Index by Profession, Achievement, or Role in Society