Montessori method in developing childrens creativity

Montessori method in developing childrens creativity How effective is the Montessori method in developing childrens creativity, both during early years education and throughout primary school education? There are currently approximately 700 Montessori schools operating in the United Kingdom, and this number is growing annually (Montessori St. Nicholas, 2010). The vast majority of these schools cater for children between the ages of three and six. However, in more recent times, there has been a gradual establishment of Montessori schools that provide primary school education for children older than six. There are now about thirty such primary schools in the United Kingdom (Montessori St. Nicholas, 2010). Although this is still a relatively small number of schools on a national scale, it is nevertheless an interesting increase to investigate further. These schools use the Montessori method to both educate children, and further their holistic development. Before a brief discussion of what differentiates the Montessori method of education from other educational pedagogies, it is important to know and understand the underlying principles that all Montessori schools adhere to for the benefit of the children who attend them. The Montessori method is based on the ideas and theories of Maria Montessori, an Italian physician who experimented with giving young children more freedom, both to direct their own learning, and work and learn at their own pace. In the process, she arrived at two pivotal (and, at the time, somewhat controversial) conclusions. Firstly, she surmised that young children possessed an innate desire to learn (Montessori, 1994). Secondly, she found that young children, contrary to popular belief, were capable of exhibiting high levels of independence and cognitive development for their age under the right conditions. In this respect, it can be argued that they are being treated as individuals. Montessori (1964) strongly believed that all young children were unique beings and should, therefore, be treated as individuals. Furthermore, she reasoned that young children, as well as having the benefit of self-directed and child-centred learning, should also experience a hands-on approach to educ ation (Lillard, 1980), using learning materials that stimulate all five of the human senses. The interaction with, and the manipulation of, ostensible Montessori materials is, arguably, one of the most renowned aspects of the Montessori method. Broadly speaking, these materials are organised into five basic categories: language, mathematics, sensorial, practical life and culture (Lopata et al, 2005). Pickering (1992) believes that these materials help children to understand what they learn by associating an abstract concept with a concrete sensorial experience. Furthermore, Montessori materials are carefully designed to be both sensorially stimulating to young children, and multifunctional to allow for a more open-ended, divergent approach to learning. Another important theme common to all Montessori materials is that they are of gradually increasing difficulty and complexity (Oberle and Vinson, 2004). It is vital that these learning materials meet these criteria, because, as Montessori (1964) stated: little ones†¦can work only on the materials we give them. In other wo rds, if the materials provided for the children are uninteresting, irrelevant or unviable, then it can be argued that a child is unlikely to be able to fulfil their potential. One final issue in relation to the background of the Montessori method regards the layout and features of the learning area. It can be seen that it visibly reflects the child-centred nature of Montessori education. For example, desks and chairs are not only child-sized, but also spread wide apart (Mooney, 2000) and arranged in rafts (Oberle and Vinson, 2004) allowing children to move around the whole area freely whenever they so wish, and helping to prevent crowding. Materials are kept in accessible places, such as appropriately low shelves (Lopata et al, 2005), so they can easily be obtained and utilised by the children at any time. It is the presence of child-orientated considerations such as these that create Montessoris (1964) ideal of the prepared environment. Such environments allow [children] to take responsibility for their own education, giving them the opportunity to become human beings able to function independently and hence interdependently (Montessori, 1964, cited in Lo pata et al, 2005). In summary, Montessoris approach to education advocated that childrens innate desire to learn could be successfully nurtured and accommodated, as long as they are provided with the right environment and the appropriate materials (St. Nicholas Montessori, 2010). Having briefly discussed the principal background information regarding the theory and practice of the Montessori method, it is now important to consider the principal teaching and learning differences between a Montessori and a traditional primary education. One important organisational and structural difference is that each class in a Montessori setting has an age span of at least three years (Isaacs, 2007). These classes share two features in common with traditional education, however: they are mixed-ability, and contain a similar number of children per class (around thirty) to a traditional primary school (albeit not all the same age). The timetable is scheduled differently to traditional settings. Instead of children taking part in a series of lessons in different subjects between the duration of thirty minutes and one hour, the day is split into two three-hour, uninterrupted work periods (Oberle and Vinson, 2004). An important point to note here is that Montessori defined work as childrens instinctive tendency to develop through spontaneous experiences in the environment (Montessori, 1964), further advocating her idea of children acting in a self-directed way. Moreover, in addition to being encouraged to work independently at their own pace, children are never interrupted by the teacher if they are busy working on a task or activity. One final notable difference between a Montessori and a traditional learning environment relates to the role of the teacher. Montessori did not use the term teacher to describe the adult charged with the education and well-being of the children in their care; instead, she used the term guide or mediator (Lillard, 1980). This symbolises the idea that the adult in a Montessori setting should be seen by the child as a facilitator to their educational development, not an authority figure. Generally speaking, teachers operate on a one-on-one basis with different children, and there is little whole-class work (Lopata et al, 2005). The teaching approach is much more indirect than in mainstream education: the adult acts in a more observational and advisory capacity. Montessori (1964) maintains that the combination of the learning environment and this indirect teaching method encourages self-discipline, even in the case of younger children. If, however, a child displays undesirable or disrupt ive signs of behaviour, then the adult will seek to amend the childs focus to some positive activity, rather than reprimanding them or imposing any kind of sanction. Although, according to Pickering (1992), such instances are comparatively rare due to the childs level of self-discipline, when they do happen they can be dealt with in a supportive manner without undue disruption to others. As mentioned before, a popular view exists among many people that the Montessori method is solely both suitable for, and aimed at, young children under the age of six (Montessori St. Nicholas, 2010). However, there has been a recent increase in the number of purpose-built Montessori primary schools, catering for children aged between six and eleven. The classes in such schools comprise two vertical age groups: the first for children aged six to nine; the second for children aged nine to eleven. Montessoris underlying theoretical principles remain the same for this older age bracket; however, there are some practical and organisational differences associated with a Montessori primary schools provision for older children. Such differences include the fact that the children no longer just choose what to work with (Montessori St. Nicholas, 2010). Furthermore, they are empowered to manage a weekly plan with activities both of which they negotiate with their teacher (Montessori St. Nicholas, 2010); this is tailored to the individual childs needs. This suggests that the learning is still child-centred and self-directed to a certain extent, but there is an increase in autonomy and responsibility for ones own learning. To begin with, children are assigned weekly tasks in mathematics, literacy and science; as they get older, these tasks begin to encompass all curricular subjects (Montessori St. Nicholas, 2010). In accordance with Montessori thinking, however, the child can choose when to complete the tasks and engages in frequent tutorial discussions with the teacher (Montessori St. Nicholas, 2010). It can be argued that the reason for this is to encourage and nurture childrens developing time and task manage ment skills, and to take an active and co-operative role in their personal development and learning. This sense of collaboration also extends to working with other children in small groups, which happens on a more regular basis than in a Montessori early years setting. Together, they can share ideas and collaborate on various projects. Other important differences include the notion that Montessori primary schools make no attempt to work to an externally developed curriculum (Mooney, 2000); however, Montessori St. Nicholas (2010) claims that the curriculum not only fully meets the requirements of the National Curriculum (an example of an externally developed curriculum), but also goes beyond it in certain subjects. Many activities relate to National Curriculum subjects, although they will not appear as such to the children (Oberle and Vinson, 2004). This nonconformity to external guidelines also stretches to the method of assessment. There is no formal testing in Montessori primary schools (Lopata et al, 2005): conversely, teachers make continuous observations to evaluate childrens progress and allow children to participate in the evaluation of their learning (Montessori St. Nicholas, 2010) during their education in a Montessori primary school, further highlighting the child-centred approach taken. A central aspect of a young childs development and learning, one which will serve them and be a useful attribute to them, both as they progress through the educational system, and through adulthood, is creativity. As a concept, it is somewhat difficult to define; however, the Department for Education and Employment (DfEE) published an influential report in 1999 entitled All our futures: creativity, culture and education, which attempted to do so. The report defines creativity as follows: imaginative activity fashioned so as to produce outcomes that are both original and of value (DfEE, 1999). This definition is then broken down into four characteristics. Firstly, they [the characteristics of creativity] always involve thinking or behaving imaginatively. Secondly, overall this imaginative activity is purposeful: that is, it directed to achieving an objective. Thirdly, these processes must generate something original. Finally, the outcome must be of value in relation to the objective. (DfEE, 1999). It is important to consider whether all of these constitutional elements of creativity are present in any particular aspect of the Montessori method, in order to argue their effectiveness in developing childrens creativity. The importance of developing childrens creativity is highlighted in a 2003 report by the Qualifications and Curriculum Authority (QCA). The report states that learning to think and behave creatively can transform pupils lives†¦it increases their motivation, self-esteem and levels of achievement. Beyond school, it enriches their lives and prepares them for the world of work. Therefore, it is crucial for each individual child to be given the means and opportunity to develop their creativity throughout their educational careers: by becoming creative individuals, they can both make valuable economic contributions and become valued members of society (Cropley, 2001) According to Oberle and Vinson (2004), there are a number of critics of mainstream education frameworks who argue that they stifle creativity. However, in stark contrast, Berliner (1975), cited in Pickering (1992), states that other critics have raised objections against the Montessori method. These critics believe that it is the Montessori method, and not mainstream methods of teaching and learning, that inhibits creativity, due to its cognitively-oriented nature. The fact that opinions seem to differ on the subject suggests that the Montessori method has some advantages and some disadvantages with regard to the aim of developing childrens creativity. The other factor to consider is whether creativity is encouraged and fostered both during the time when a child attends an early years Montessori setting, and during the time when they attend a Montessori primary school. The effectiveness of a number of key aspects of the Montessori method with regard to the development of childrens creativity, both during early years education and throughout primary school education, will be discussed. These particular aspects have been chosen because they contrast with aspects pertaining to mainstream early years and primary school education. Some of these aspects are universal to both Montessori early years settings and Montessori primary schools; others solely pertain to older children (in this context, those aged six to eleven) in Montessori primary schools. Children are given the chance to direct their own learning. This can help to provide them with the self-confidence they need to be inventive and take risks with their learning; this is an important aspect of the creative process. It also allows children the freedom to experiment with different learning styles, such as visual, auditory and kinaesthetic (Jones and Wyse, 2004), through their individual manipulation of the materials available. It can be argued that this will increase the chance of a child discovering their preferred learning style, thus making them more receptive to new ideas and ways of thinking. This can also assist with their creative development, as they can use these new approaches to solve new and existing problems. Children are allowed to work and learn at their own pace. This illustrates the notion that Montessori settings are completely inclusive, allowing an education for all approach to be embodied in their framework. It is well documented that children develop at different rates, so this can make children feel more comfortable about their learning. More able children have the opportunity to extend themselves; less able children do not feel left behind (Pickering, 1992). This can prevent children at both ends of the ability spectrum from becoming uninterested or frustrated, both of which have the potential to inhibit creativity if the childs mind is not on the task at hand. The Montessori method offers a child-centred, hands on approach. Montessori (1964) believed that true creativity stemmed from individual freedom of expression. It can be argued that this hands on approach offers children the opportunity to express themselves in creative ways through, for example, drawing, cutting, gluing, painting and so on. However, it is important that the child has a sense of purpose when undertaking such activities, in order to fulfil the criteria of creativity. As the teacher is often not directly involved in what the child is doing, the danger exists that the child may be acting randomly, thus not working towards a particular objective. The materials used allow for multi-sensory learning. This is another way in which children with different preferred styles of learning can benefit. Isaacs (2007) argues that creative development has significant links with the sensorial materials area, particularly if [we] understand the childs creativity to be the ability to use their imagination. Through various combinations of visual, auditory, tactile and kinaesthetic materials, it is possible that children will increase their knowledge and understanding of the world, and, more importantly, retain this knowledge and understanding through recalling these multi-sensory experiences. It can also be argued that this will foster childrens curiosity about the world around them and how it works; Fishkin and Johnson (1998) emphasise that a link exists between curiosity and creativity: they fuel each other. The materials are multifunctional; learning can therefore be open-ended and divergent. Divergent thinking can help children to generate creative ideas by exploring many possible solutions to a particular problem (Craft, 2002). It is the childs decision how they choose to utilise the materials: it can be said that this encourages an independent thought process. According to Starko (2005) having the means and opportunity to think independently is one of the building blocks of creativity. The materials are of gradually increasing difficulty and complexity, as the children learn new concepts, and apply their previous knowledge and skills to solve new problems. It can be argued from this that these materials are cognitively oriented (Berliner, 1975, cited in Pickering, 1992), as they allow children to make connections and perceive relationships between what they have learnt before, and building upon these connections and relationships to allow them to progress to the next stage of learning. Montessori (1964) argues that, without this type of cognitive scaffolding structure, true creativity simply cannot exist. Materials are kept in accessible places; appropriately low shelves facilitate this easy access. Moreover, early years children are shown how to use sharp scissors and adult-sized tools safely (Mooney, 2000): although this is perhaps the most controversial aspect of the Montessori method (Isaacs, 2007), it serves to further highlight the Montessori self-directed approach, and makes children more responsible for their own learning. Children need to consider what best tools and materials are for whatever purpose they have: it can be argued that being given the opportunity to choose allows them to think in creative, novel ways about what to do and how to do it. Desks and chairs are child-sized and arranged in rafts. Each raft has a particular activity assigned to it; these typically change on a daily basis (Isaacs, 2007). Children have the freedom not only to move around the rafts (and there is ample space between them to allow them to do so), but also to work with other children. A fundamental aspect of a Montessori setting is that all children respect and care for each other, and that caring attitudes are adopted at all times, towards peers, teachers and life itself (Oberle and Vinson, 2004). This fosters collaboration between children; by sharing ideas and information, they can work together creatively and discover new ways of thinking and working. Children have freedom of movement around the learning area: they can move of their own volition between one learning activity and another, rather than being directed to them at any particular time or in any particular order. This highlights another aspect of how Montessori believed childrens creativity could be developed: the freedom for them to select what attracts them in their environment (Nunn, 2010). This sense of freedom also gives children the opportunity to act with a degree of spontaneity, which can allow the generation of a large number of novel and diverse ideas (Jones and Wyse, 2004), thus instigating and developing the creative process. Each mixed-ability class has an age span of at least three years. Particularly in Montessori early years settings, older children can act in a mentoring capacity to younger children (Lillard, 1980). This can help to scaffold childrens learning and thinking, as the older children can, if they wish, help the younger children with whatever they are doing, so that the younger children will eventually be confident enough to work and think independently, and thus begin to think and work more creatively. It is important, however, that the older children do not spend too great a proportion of their time doing this, however thoughtful and considerate it is; they need to further their own knowledge and understanding too. The day is split into two three-hour, uninterrupted work periods. According to Oberle and Vinson (2004), it has been suggested that children taught under the Montessori method are not allowed enough time to simply play. This is problematic to an extent, as research evidence suggests that childrens creativity can be developed through play (Duffy, 2006; Craft, 2000; Smith, 1995). A possible negative implication of this is that children are not encouraged to use their imaginations due to a notable deficit of creative play time factored into a Montessori setting (Seldin, 2009). Children are never interrupted by the teacher when they are engaged in an activity. This allows children to persevere with what they are doing. This can be beneficial to creativity to an extent, as it gives children time to think through the activity in different ways before arriving at a final solution. However, on a cautionary note, it is important that the teacher, though generally involved in an indirect capacity, monitors what children are doing in order to ensure that this perseverance is constructive, and, more importantly, purposeful. The teaching approach is much more indirect. Pickering (1992) argues that because the classes are run to a very large degree by the children, with only the degree of adult guidance necessary to ensure order and safety, the setting becomes emotionally safe and secure. If this ideal can be practically adhered to in a Montessori setting, then children can relax and be authentic individuals instead of trying to be cool. This, in turn, helps to allow their creativity to blossom (Cropley, 2001), as it diminishes the risk of social issues such as wanting to be popular, and alienation. Some aspects that only predominantly relate to Montessori primary education will now be discussed in relation to their effectiveness in developing childrens creativity beyond the early years. Children negotiate weekly activity plans with their teacher. This gives children the opportunity to pursue an area or topic that interests them, which the child will not only enjoy, but from which the child will also gain a sense of purpose and direction: a key aspect of creativity. However, this does not necessarily have to be the case (Montessori St. Nicholas, 2010). A child may be curious to find out about an area or topic that is new to them. In this instance, they can work and think independently. This combination of independent thinking and curiosity can help to develop their creativity by asking new questions and thinking in new ways about new ideas and concepts. Moreover, children are allowed to choose when to complete assigned weekly tasks, and engage in frequent tutorial discussions with the teacher. Referring back to a previous issue, this allows the child to work at their own pace, as it allows them to set themselves achievable goals, and work to these goals through this weekly planning. It can be argued from this that the childs opinions are greatly valued, and, to a certain extent, this collaborative process treats the child as an equal by making them more autonomous about their learning. As discussed before, this can boost their self-confidence, which, in turn, helps them to be more inventive and take risks with their learning: a key aspect of the creative process. During the primary school years, children begin to work in small groups, although there is still very little whole-class work. Working with others can allow children to compare ideas and thoughts, solve problems and assimilate new knowledge. According to Craft (2000), working with other children in small groups can nurture creativity, as it stems from social processes as well as individual processes. Sharing ideas and thoughts, and solving problems by thinking creatively, is one such social process. Montessori primary schools meet the legal requirements of the National Curriculum, although they do not follow it to the letter. This allows the childrens educational experience to be based on their own particular needs (Montessori, 1964), which can be informally, but constructively observed and assessed. There is no formal testing or assessment (for example, Standard Attainment Tests). It can therefore be argued that this helps to eliminate competition between children. Competition can be a barrier to creativity (Starko, 2005) because, on a social level, some children compare their achievements to others, which could adversely affect some childrens self-esteem. Fishkin and Johnson (1998) argue that a childs fear of failure also inhibits the childs creativity, as they may lose the self-confidence required to think in a creative way. Montessoris view on this is also made clear: the child in the Montessori classroom is†¦free from the judgement by an outside authority that so annih ilates the creative impulse (Nunn, 2010). In conclusion, the evidence suggests that both early years and primary school settings that follow the Montessori method can help to develop childrens creativity throughout this age range through its support of independent, self-directed, purposeful learning activities with stimulating, multifunctional learning materials in a free, accessible learning environment. Children have the opportunity to think and behave imaginatively through the processes of curiosity and exploration. This is not to say that the Montessori method is the only type of pedagogy that can develop childrens creativity. Mainstream early years settings and primary schools are certainly capable of doing so: although there is more emphasis on teacher-led, carefully planned, systematic learning, there is still scope for the development of childrens creativity. The Montessori method, while different to traditional learning methods in many respects, achieves the same outcome, but in a very different way. In Montessori s ettings that faithfully follow Montessoris underlying principles, children can acquire and develop the three qualities that Montessori believed were necessary for creative endeavours: firstly, a remarkable power of attention and concentration; secondly, a considerable autonomy and independence of judgement; and, thirdly, an expectant faith that remains open to truth and reality (Nunn, 2010). Montessori believed that all children possessed tremendous creativity. This creativity is directed towards becoming a developed individual, endowed with a sensitive soul, an eye that sees and a hand that obeys (Nunn, 2010). This was Montessoris idea of the basic qualities inherent to a creative individual: these qualities, if given the chance to develop through the correct implementation of the Montessori method, will serve the child throughout their educational career and subsequently during their adult lives. Evaluation of my learning and its management I needed to ensure, for the purposes of this module, that I supported my transfer from an initial teacher training course to an educational studies course. In order to build a bridge between the two, I needed to find a topic that related, in some way, to one module from my previous course, and another module from my new course. In order to support my transition between courses, I needed to investigate a topic of which I had prior knowledge and experience of writing about, and think about it less in terms of the practical teaching context, and more in theoretical terms of how children learn, with the possibility of considering broader educational issues. In truth, my reason for choosing to focus on the Montessori method of education happened somewhat by chance. The idea was not suggested to me, nor did I harbour any previous interest in it. I first became interested in the Montessori method, however, when a lecturer gave me a piece of advice on another piece of written work for a different module. I was advised to consider Montessoris ideas on fantasy play, as the lecturer felt that it would lead to an interesting argument. It was because of this advice that I decided to investigate the Montessori method in more depth, forming an interest in it in the process, which also helped me to complete the piece of work from the other module. The Montessori method of education, so I thought, focused on early years education; I therefore felt that it could be regarded as an early years issue. Consequently, the first module chosen as the basis for this independent learning module related to early years issues. Before I began this assignment, I knew very little about the Montessori method of education. I was aware that they used an array of specialised Montessori materials, but I was unaware of what was particularly different or unique about them. I then discovered that, although comparatively few in number, Montessori primary schools existed in the United Kingdom. This meant that I could investigate an aspect of the Montessori method in the context of one of my previous modules, which were tailored to primary school, as opposed to early years, education. I chose to link this to a module from my previous course concerning creativity in the primary curriculum, as, honestly, it was the only one at the time that I thought I could attempt to link to the early years module on my current course. As I mentioned, my first discovery was that there are some Montessori settings, albeit not many, that cater for children beyond the early years. I also discovered that the implementation of the Montessori method was completely different to anything I had read about or observed before. Its principles were based on self-directed, independent learning; children seemed to enjoy a considerable amount of freedom. Each class had an age range of three years. Children were even taught how to use sharp knives from a very early age. All of these ideas, and many others, surprised me, and I wondered how this system could possibly work. However, I knew that the system must work; otherwise Montessoris ideas and theories would not have made it past the drawing board stage. It was then my task to find out how this system worked on a daily basis, which I found interesting as it made what I considered to be an improbable educational system possible. Regarding the development of childrens creativity, when I found out about the implementation of the Montessori method, both in early years and primary school education, I found out that it was the children themselves, and the learning environment, that were responsible for nurturing the skills and attributes necessary to promote their creative development. It was not the teachers overall responsibility, although they could intervene as and when necessary. As before, I found this interesting as it was a new concept and a new way of thinking to me. On reflection, I might have chosen differently. There are two reasons for making this statement. Firstly, the idea of creativity with regard to the Montessori method is a comparatively small area for discussion, and it was difficult to find suitable research materials. I found it difficult to make sense of, and synthesise, the information available to me. Although, as I discovered, Montessori did have her own views on

Evaluating a Health Promotion Website Essay -- Health Care, Nursing

Introduction This assignment intends to review the concept of nursing shift handover. Nursing handover can be defined as an important time to exchange information pertinent to the continued care of their patients (Pothier, Monteiro, Nooktlar et al. 2005). Methods of handover are varied, ranging from taped, verbal, by the bedside or with typed sheets. In 2010 there were 352,104 registered nurses, midwives and health visitors working in the NHS (RCN, 2011). All of these will partake in a handover of information on a regular basis, in hospitals this handover takes place at least twice day. In 2009/2010 there was 16,806,200 hospital stays in NHS hospitals (IC NHS, 2011). Information about their care would have been exchanged at shift changes, with the quality of each handover ensuring relevant care. Consequently, we can see that handovers effects thousands of nursing staff together with the thousands of patients in the hospital setting. The Health & Safety Executive (1996) stated that handover has several requisites, in particularly that communication between shifts should be accurate and without misunderstandings. The need to improve handovers is international recognized along with the obstacles that need to be overcome. Solutions need to address the healthcare professionals resistance to change, while understanding their time pressures. Additionally, issues relating to staffing levels, language differences and lack of research (WHO, 2007)need to be taken into account. According to Prouse (1995 cited by Carayon,) the cost of a handover in an UK hospice was approximately  £80, (with inflation  £125 (This is Money, 2011)). Additionally, Burke (1999) suggested using taped handovers saves a ward  £16,000 per annum, which may... ...400 results when refined with quantitative or qualitative keywords. Lastly, CINAHL produced best results when using a basic search with 'nursing handover' used, resulting in 23 articles. Each database requires different techniques, sometimes narrowing or opening the search parameters. Parameter of date and location were employed. Consequently, papers needed form 2001 onwards, original research and from the UK, thus avoiding cultural discrepancies and ensuring applicable to practice. Additionally, they needed to be hospital based and preferably in a ward setting. The qualitative paper selected was 'A qualitative study of shift handover practice and function' (Kerr, 2001) and the quantitative paper was 'A Pilot study to show the loss of important data in nursing handover'(Pothier D., Monteiro P., Nooktlar M. et al., 2005). These will now be critiqued in turn.

The Human Mind: Id .vs. Ego and Superego (Lord of the Flies

Isaac Lee 9Ak Essay Lord of the Flies The human mind: Id . vs. Ego and Superego Lord of the flies was written by William Golding. It is about a group of boys who crash-landed on the island. They are to survive and as the novel progresses, the boys’ imaginations takes them to hallucinating about a ‘beast’ being on the island. The ‘beast’ is a representation of fear and leads to the power struggle between Ralph and Jack with Simon standing by the side. William Golding uses the power struggle as a representation of the human mind, how the Id, the savage, basic instinct of our mind is always there and the reason for civilization (e. social interaction and rules and the consequences. ) The power struggle represents the human mind. The three main characters are the representation of the three parts of the mind, focusing on the Id, which is always there floating in the back of ones mind. The human mind is split into three different parts, the Id, the Ego and the Superego as thought by an austrian neurologist – Sigmund Freud. The Id is the set of uncoordinated instinctual trends, basically, the hunger for everything we desire.Freud thought that the Id was driven by the ‘libido’ – the energy from life’s instinct and the will to survive, it gives the feeling to desire. The ego is the organized realistic part of your mind, it satisfies the Id by controlling it through any means to divert, transform or converting the powerful force of Id to useful and realistic modes of satisfaction that can be done in reality and suppresses the need for everything. The superego is your conscience, it judges the right and wrong, it seeks perfection that is beyond the limits of reality, even beyond the ego.Overall, the ego is always negotiating with the id, trying to prevent it from over whelming itself while the superego watches over, jumps in when it thinks that it Lee, p. 2 can have a moral decision about the situation. I n the Lord of the Flies, Jack represents the id. He has an unquenchable thirst to kill and to thrive e. g. ‘He tried to convey the compulsion to track down and kill that was swallowing him up. ’ (P70) The impulse in him to murder was eating him. In the story. As he progresses, he begins to show signs of savagery. In the eginning, they all had one opinion but that changed radically as the ‘beast’ showed up. When Jack heard about the beast, the first thing he wanted to do was to hunt the beast. As you could say, that the beast was a flame that sparked of Jack’s Id, after that, he left the tribe and formed his own, a manifestation for power. As Jack does in the book, the Id springs out, takes over control of our mind and takes advantage of our fear of the beast. Shortly after that, they began to worship and offering the head of what they kill to the beast.As the Id was driven by the ‘libido’, Jack was driven by hunting. Then, the beast†™s form was a motif, a repeatedly occurring idea, or thing, which upon repetition derives it’s meaning in relationship to the theme. The first time that the beast appeared, nobody really believed in the beast. In page 34, a child tells Ralph through Piggy ‘He wants to know what you are going to do about the beast thing. ’(P48). After that, they laughed it off, as if it wasn’t real. But after a while, in chapter , they begin to doubt whether the beast is real or not, when samneric saw a ‘shape’ on the hill.The result – They were absolutely terrified about the ‘beast’. Ralph represents the Ego in the Lord of the Flies since he has always been struggling with Jack in power and strength. A key moment in the book of the power struggle is when Jack leaves the tribe ‘â€Å"I’m going off by myself. He can catch his own pigs. Anyone who wants to hunt when I do can come too. †Ã¢â‚¬â„¢ Lee, p. 3 This shows that J ack is far apart from the other people and only cares about himself. This shows that Jack is power hungry and only cares about himself. This symbolizes that the Ego is trying to control the Id.As the ego, it is also trying to divert the power of the Id to realistic methods as stated before, when Jack raised that question of hunting for food everyday and so, Ralph decided that Jack could hunt, but not every hour so they can keep the fire going. Therefore, Ralph represents the Ego. Simon represents the superego in the Lord of the Flies. When Simon heard about the beast, he didn’t cower away, afraid of the beast, he did the opposite. The only person who does not believe that there is a beast is Simon. Simon later discovers that the physical ‘shape’ is actually a man in a parachute being dragged up the hill by the wind.He then goes to untangle the figure, even though it is foul and rotten away. We can see this in this quote: Simon knelt on all fours and was sick till his stomach was empty. Then he took the lines in his hands; he freed them from the rocks and the ? gure from the wind’s indignity. He saves the figure even though it is not obligatory, he saves it out of his own goodness and will, he does this not for the greater good, but only because just because it is unfair for a corpse that has to be strung up like that. Therefore, Simon represents the superego in the Lord of the Flies. The ‘beast’ in the book is a manifestation of fear.This paragraph will focus on how our fear or Id is always part of us, in the back of our minds, unconsciously. Mentioned in the previous paragraphs, it shows that the mind is split into three different parts, the id, the ego and the superego. The id eats away at us, when there is a trigger to set us off. The person who really became an ‘id’ was Jack, by the end of the book he was a dehumanized animal. The trigger for Jack was the the ‘beast’ itself. When they saw th e physical form of the beast, which was just a man on a parachute, they were Lee, p. 4 absolutely terrified, they ran away from it as fast as they could.Something interesting to point out was as Ralph was running down the mountain, it also said that: ‘Ralph found himself taking giant strides among the ashes, heard other creatures crying out and leaping and dared the impossible on the dark slope; presently the mountain was deserted, save for the tree abandoned sticks and the thing that bowed. (p135)’ Notice how here that it describes the other boys as ‘other creatures’ but not boys. They are descending into the darkness of primitive humans. At first, they were putting on face paint and just laughing it off, but then it gets very serious as shown through this quote: The face of red and white and black, swung through the air and jigged towards Bill. Bill started up laughing; then suddenly he fell silent and blundered away through the bushes. Jack rushed toward s the twins. â€Å"The rest are making a line. Come on! † â€Å"But-† â€Å"-We-† â€Å"Come on! I’ll creep up and stab-† The mask compelled them. ’ (P66 ) Notice that Jack said that they are making a line and they will creep up and stab them. This reflects on the final scene how the hunt for Ralph is just like this scene, it is providing foreshadowing for later. They stab to satisfy their own need to hunt.A great example for this is from Simon’s death to Piggy’s death and finally to the hunting of Jack. At the death of Simon, we can tell that it was an accident and it was ambiguous whether it was intentional or unintentional, they were all driven to fear with the surroundings. Then came Piggy’s death. Ralph and Piggy came to Jack’s fort for peaceful means to ask for Piggy’s glasses back. But then, they got into an argument and came teeth to teeth fighting. Roger observed from above and as it says: ‘H igh overhead, Roger, with a sense of delirious abandonment, leaned all his weight on the lever. ’(p200 – 201) and then,Lee, p. 5 ‘The rock struck Piggy a glancing blow from chin to knee; the conch exploded into a thousand white fragments and ceased to exist. Piggy, saying nothing, with no time for even a grunt, travelled through the air sideways from the rock, turning over as he went. The rock bounded twice and was lost in the forest. Piggy fell forty feet and landed on his back across that square, red rock in the sea. ’(P200-201) This shows that Roger, under the influence of Jack, did this cruel act of violence on purpose, killing Piggy just like that. But the most inhumane act they did was to hunt and kill Ralph.The reason? Hunting is an act of mainly gaining something like meat and such while here, they are hunting Ralph just for pleasure and to add on to that, hunting is usually to hunt animals, but here they are hunting a human. In addition, here is a n extraction from the hunting of Ralph. ‘The ululation spread from shore to shore. The savage knelt down by the edge of the thicket, and there were lights flickering in the forest behind him. ’ (Page 221) The hunting of Ralph takes place throughout the island. The boys are no longer being described as boys in this quote, as stated that ‘The savage knelt’ (P221).The children have truly become uncivilized barbarians, hunting each other as if it was just a game of fun. An interesting point in the book is when Simon is talking to the imaginary ‘Lord of the flies’. It holds something very sinister. ‘You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go? Why things are what they are? ’ (P158) The Lord of the Flies is always part of us. This supports how it is fear itself that is haunting these boys, they descend into darkness with out civilization. The head speaks to Simon i n an ominous way, with ‘Why things are what they are? ’, suggesting that we created it ourselves.Lee, p. 6 The important of civilization and how, without it we would become savages is a wide topic. The main focus of civilization in this book is fire. Symbolically, the fire represent the will to be civilized; the absence of the fire represent the loss of civilization. The fire in this book is a symbol for civilization because they keep it going to signal a ship, in the end, they just give up on keeping the fire going for two reasons, one, Samneric saw the ‘beast’ on the hill, which made them terrified, second, there was not enough people once most of the people from Ralph’s tribe went over to join Jack’s tribe.Piggy states that ‘â€Å"That’s where they’ve gone. Jack’s party. †Ã¢â‚¬â„¢(P188) They lose the will to live. Jack’s ideal of a good life on the island is to hunt and kill nothing else while Ralphà ¢â‚¬â„¢s ideal is to sustain the smoke from a fire so a ship will see it and come rescue them. A detail to point out is also that Piggy says on P37 ‘I bet it’s gone tea-time’ This brings back what they were doing back at home – a routine. Here in the jungle, they have just recently crashed and have no organization whatsoever, by saying this, Piggy is bringing back the children to what they would have done if they were back in civilization.Another reason for civilization and social interactions is that we would go insane if it were not that we had someone to talk to. For example, when Simon was traversing to the sow’s head that Jack’s tribe had killed and offered to the imaginary ‘beast', this character the ‘Lord of the flies’ pops up in Simon’s unconsciousness, he starts to hallucinate. ‘Simon shook. â€Å"There isn’t anyone to help you. Only me. And I'm the Beast. †Ã¢â‚¬â„¢. When we are alone, th ings like this start to happen. ‘The world, that understandable and lawful world, was slipping away’ (P98).Another example of the group descending into civilization is when Jack meant to kill Ralph: ‘Vicious, with full intention, he hurled his spar at Ralph. ’ (P201) We don’t kill a fellow human being that easily and when we do it is with reason, but here, Jack throws it at Ralph, with intention but without reason. The murderous hate has consumed Ralph. He is uncivilized and barbaric. In conclusion, Lord of the Flies is a book where the power struggle between Ralph and Jack, but with Simon as the overview figure, is a representation of the human personality, with Simon andLee, p. 7 Ralph trying to contain Jack just as in the mind how the Ego and Superego try to contain the Id, how the Id is always in the back of mind and without civilization we would descend into becoming savages. But the children, as previously mentioned, were only around ten to twe lve years old and children as the symbol of innocence but yet they consider and commit such inhumane acts, does it not mean that we are all savages at the bottom of our heart too?

The Culinary Industry Free Essay Example, 1500 words

It must be kept in mind that the hourly wage depends on the state. Metropolitan states and bigger cities offer higher rates due to the high standards of living in such areas. However, the report showed that the lowest salary for these type of jobs are $11.00. Also, almost 50% of the industry is comprised of full-service restaurants and traveler accommodations ( hotels, lodges, etc. ) which often need workers. Indeed, the industry is very much alive and competitive as well. It is very important for students of culinary arts to equip themselves with all possible knowledge and skills to gain an advantage over the rest of potential competitors when they graduate. Some students heavily invest in going abroad to places like Switzerland or France for exposure in culinary arts. Interestingly, there are some individuals who work their way to the top by gaining experience from small or medium sized establishments. After having an overview of the industry as well as the requirements needed to become a culinary art practitioner, it would be better to interview someone who is actually a chef. The person that obliged to my request was my sister s friend who currently works as chef in a ski accommodation in Aspen. We will write a custom essay sample on The Culinary Industry or any topic specifically for you Only $17.96 $11.86/page