Writing For Children

Writing For Children Peter Hunt writes that ‘some idea of a child or childhood motivates writers and determines both the form and content of what they write (2009a, p13). Prompting  Ã‚   that an authors choice of book type and content stems from their image of the child they are writing for, elements of which come from their own ideology of society and childhood often shaped by their own lifestyles. It is arguable however if the authors idea of childhood is indeed their motivation or if there are other factors in their writing that point to an additional agenda. In considering Hunts statement we will see the changing childhood ideologies of Victorian and postmodern realism in Louisa May Alcotts, Little Women (1868), and Melvin Burgesss Junk (1996), and also the differing concept of childhood in fantasy literature with Phil Pullmans, Northern Lights (2004). It is also significant to discover what constitutes the authors notion of childhood in their books, and if there are external elements which c an shape the content and form of childrens books such as mass marketing and the commodifying of children. Early childrens literature was highly didactic and as Zipes (2009) suggests even the earliest renderings of fairytales were designed to turn children into the type of adults their societies would prefer. Its First Golden Age from the later half of the nineteenth century introduced a change in how we viewed children, we began to celebrate the joys of childhood, (Carpenter, 2009) the most notable books entertained and also gave their readers a sense of empowerment and individuality. An example of such a novel is Louisa May Alcotts Little Women,following the narrative tradition of domestic and informative stories for girls such as Sarah Fieldings The Governess (1749), and ostensibly remaining within the conservative restrictions of her era, Alcott presents the contemporary life of four sisters growing up during the American civil war. Her book, written as a request by her publisher to fill a niche in the market, is to all appearances moralistic and patriarchal. The title, as phrased by the childrens father ‘little women'(Alcott,1868, p12) exemplifies the Victorian ideal of childhood, where children were seen as miniature adults and taught the puritan morals to be dutiful , obedient , hard-working and God-fearing (Styles,2009), puritan John Bunyans Pilgrims Progress(1678) is used extensively throughout the book . Little Womens third person omniscient narration is also in quite a condescending adult voice effecting to keep the March girls as children who need guidance, even when they mature, ‘Amys lecture did Laurie good, though, of course, he did not own it till long afterward (LW, p384).The narrators frequent interjections with opinions and views guides the readers into making the required conclusions, thereby giving instruction to its girl readership on how to be good wives and mothers. Arguably however as Fetterley (2009) suggests there are statements within the novel that portray an undercurrent of ambivalence, showing Alcotts perhaps true feelings to opportunities available according to gender and class, depicted primarily in her portrayal of Jo an antagonistic of the submissive young girl of the times. Alcott herself was rather an oddity of her time, a spinster, woman activist and the family breadwinner, her motivation to write was often purely financial (Alderson, 2008). Accordingly Jo is often seen as based on Alcott, portrayed as a talented headstrong writer, Beths words ‘You are the gull, Jo, strong and wild, fond of the storm and the wind, flying far out to sea, and happy all alone.'(LW, p361), echo Alcotts own lifestyle, yet could also be seen as advice to her girl readers to embrace their freedom, rather than their expected domesticity. Even the outwardly repressive marmee, and her ideas of marriage ‘the sweetest chapter in the romance of womanhood (LW, p95), also states ‘better be happy old maids than unhappy wives'(LW, p95). She also occasionally shows her ambivalence to her life, ‘Mother isn t sick, only very tired, (LW, p109), as Hannah their housemaid points out ‘housekeeping aint no joke (LW, p109) and as Alcott is perhaps trying highlight, domesticity is not so wonderful a role to aspire to. Alcott quite understandably given her precincts denied any subversion in her novel yet it is arguable that it contains many instances of her own childhood. In her journal she recalls the daily drudgery and struggle of her mother as she strived to sustain her family while her father as in LW gave little help (Alderson, 2008). Alcott used the then accepted ideal of the quintessential patriarchal Victorian family childhood and her own family memories to give form and content to her book. The March girls are lost in their own wonderful family plays and games, a loving safe playful family unit that nurtured and trained the child, giving much needed stability to a society shaken by war. This was not however Alcotts only motivation, she disliked her own novel as she says ‘I do not enjoy writing moral tales for the young, I do it because it pays well (Alcott cited in Alderson, 2008, pxxiii), and her covert messages of rebellion, portray distaste in the directives which shape the young, especially girls, to be compliant adults. Her novel is also motivated and shaped by her social stance on opportunities available to the gender, class and race of her time, Little Women represents childhood as preparing for future roles, yet covertly it also uses its representation with the potential to disturb societal expectations. Over a century later Melvin Burgess again fills a publisher recognised niche in the teenage market also focusing on the adolescent experience, Junk is unrestrained from nineteenth century conservatism in its graphic depiction of the fall of two runaways into prostitution and drugs. Burgess states children or young people should read about their lives not idealistically but as they really are, his characters are not invented but based on his memories of real people, he also does not preach to his readers yet allows them to evolve their own conclusions, (Burgess, 2009). It has been said Junk ‘neither glamorises nor demonises drug addiction (Falconer, 2009, p375), yet Junk conceals a strong sense of morality within its text, its principles obscured so the book appears to be non didactic or opinionated and so appeal to Burgesses idea of the modern teenager. Junks individual character narration lends to a documentary style of neutrality, yet textual guides bring the reader to the re quired conclusions, as Tar says ‘If you dont mind not reaching twenty theres no argument against heroin, is there?'(Burgess, 1996, p166), Gemma is the spoilt little runaway child ‘How do you think her parents feel? asked Vonny. They were just keeping her in. Its not like Tar is it?'(Junk, p75). The events have a moralistic ending, Gemma recognises they have all been deceiving themselves and condemns them all to their fate; her own is to be a single mother. Such reality based writing lends itself as Tucker(2009) says to the authors belief that childhood is primarily a transitional stage leading to adulthood ‘giving readers the truth is seen as providing them with an important aid to their own eventual better understanding of themselves and others (p190). Junk follows this form well, Burgess gives his child readers autonomy in interpretation, viewing them not as innocents, but inexperienced young people, who need empowerment and guidance to make the right decisions. As we have seen it is impossible to read Junk and come out defending heroin or the runaway, it could be said that Burgess brings Alcotts moral tale for the young into todays modern world. Yet in challenging the ideology of the innocent child, Junks view of childhood is at the opposite end of the spectrum to that of Little Women, he dispels the nostalgic innocence critics connect with childhood. His explicitness ‘Lily said, Ive been a little prossie for half an hour (Junk, p158) ‘foregrounds how altering conceptions of the child†¦can cause both controversy and anxiety among consumers (Squires, 2009, p189), leading to Burgess having to defend his authorial intent over the charge of sensationalism. In response to criticism from Anne Fines, and defending the explicit nature of his books, Burgess says ‘Underneath Annes whole article is that same nasty sneer I remember from when I was small How revolting. Arent you a dirty little boy? the same attitude which was exactly what made me want to write the thing in the first place (Burgess, 2004). It could then be suggested that part of his motivation was indeed to rebel against as he calls it ‘the moral majority (Burgess, 2009, p317), and stretch the boundaries of appropriate childhood reading matter. Nevertheless saying that drugs and underage sex are what teenagers want to read about could perhaps show that Burgess himself has a distorted idea of todays childhood. An idea he needed to uphold in order to construct his model of the non-reading (conceivably moronic) teenager and defend the sensationalism of his novel, he is perhaps modelling his child to suit the aspirations of his book. Junks content worked as a hook for his teenage audience and also generated him much publicity, conceivably showing another aspect of his motivation, content and form set to shock the critics, produce an outcry and gain him notoriety, all in addition to providing teenagers realistic age related literature. His post modern realism , takes the assumption that children are not innocent, but they still need guidance, also that in order to connect with todays child , this guidance must be hidden all owing the reader perceived autonomy in their decisions. Burgess also shows a sad irony in the loss of childhood, Gemma wanted ‘a slice of life'(Junk, p161) but could only find this in leaving home, unlike the March girls, in Junk childhood was something to be quickly left behind in order to really live.   An authors understanding of childhood as Hunt says can influence the form of their writing ,‘ those who see childhood more as an end to itself may prefer literature that is clearly more fantasy based (Tucker, 2009, p190). Phil Pullmans Northern Lights conforms to this ideology using a fantasy world to rewrite the biblical story of creation. Eighteenth century philosopher Rousseau stated that ‘Nature wants children to be children before they are men (Jenks, cited in Hunt, 2009, p23), he believed childhood should be a time of innocence , with children allowed to grow at their own pace not forced into civilisation. Pullmans similar view on childhood freedom is apparent in Northern Lights , Lyra is safe and happy in the freedom of Jordon College, ‘What she liked best was clambering over the college roofs'(Pullman, 2004, p36), as she grows her freedom is stifled by the intervention of her mother, state and church . Poet William Blake also used Rousseaus concept of natural innocence, corrupted by adult intervention, and Pullman uses Blakes contraries and commentary on Miltons Paradise Lost to ‘reverse the morality of the biblical fall to celebrate knowledge (Squires, 2009, p278). He advocates the co-existence of good and evil (body and soul) and free will, which the church refuses to, acknowledge (Bird, 2009, p264).   As such Northern Lights, casts an unfavourable light on how religious fundamentalism suppresses knowledge, the Magisterium symbolising the church is shown as repression and death, killing the children whose souls or daemons it removes as it endeavors to preserve innocence ‘all that happens is a little cut, and then everythings peaceful .For Ever!at the age we call puberty†¦daemons bring all sorts of troublesome thoughts and feelings (NL, p283). Pullmans idea of the child is shown in Lyra, her innocence and freedom of mind give her the ability, unlike adults, to easily read the alethiometer, Lyras ‘childlike state'(Squires,2009, p281) when reading makes her feel ‘like a young bird learning to fly'(NL, p152). Which is a suitable metaphor for how she represents Pullmans main concepts of innocence and experience, seeing similar attributes in young people giving them the ability to deal with significant issues free from outside influence; as he says ‘he hopes that young readers will finish †¦having gained the understanding that trusting ones own thoughts and feelings is an essential part of self-discovery and growing up (Travis, 2010). Through his use of the fantasy form Pullman is able to transgress difficult subject areas normally out of bounds within a childrens book, capturing his young readers imaginations while keeping the stark realities of his metaphors at bay. He insists on realism and the ‘real implications of his fantasy stories (Wood, 2009, p274), exhorting his readers to take an activist role in creating the world that they want. So saying ‘If I write fantasy, its only because by using the mechanisms of fantasy I can say something a little more vividly about, for example the business of growing up (Rustin and Rustin , 2003 ,cited in Montgomery, 2009, p255). Within Northern Lights, Pullman shows Lyras growth from innocence, he demonstrates the malleability of childhood with the changing form of the childrens daemons that represent their character , which set at puberty into the type of person they are, for example ‘he was a servant , so she [the daemon] , was a dog (NL, p7). Pullman promotes childhood as an innocent time when children are impressionable and make the important decisions that mould their moral fibre, he follows the traditional pattern of childhood freedom, as seen in the like of Ransomes Swallows and Amazons() as the children create their own idyllic morally responsible world (Squires, 2009, p282). Northern Lights uses the Magisterium to establish anti-religious ideology and shows the infallibility of religion in that Lyras saviours are those marginalised and demonised by society; the non religious gyptians (gypsies), risk all to rescue the children, and the witches save their lives in the final battle. Such radical views may seem better placed in adult literature yet as Reynolds (2009) informs ‘avoiding cultural spotlight is one reason why writers may find themselves drawn to write for children (p109). Pullman may be using childrens literature as a vehicle to publicly air his opinions on religious fundamentalism safely hidden within childrens fantasy, to a less judgmental audience. It could be that Pullman simply finds this medium more liberating; however Northern Lights also manipulates its readers opinions in line with Pullmans, ultimately, as with Junks evils of heroin, the reader cannot fail to see the Magisterium as the evil villain. Pullmans use of fantasy fiction proves he can more succinctly air his own opinions, and he could be seen as using the medium of childrens literature in the same way. As he states ‘there are some themes, some subjects too large for adult fiction; they can only be dealt with adequately in a childrens book ‘(Pullman, cited in Falconer, 2009, p378). His view on how we underestimate the potential of the young in order to maintain our own nostalgic view of childhood has certainly shaped the form and content of his book. Reynolds (2009) informs that ‘childhood is a time to negotiate and find a place in society, yet more so with Northern Lights ‘it is also about developing individual potential suited to a future in which societies could be different in some significant ways'(p100). It could perhaps then also be said that Alcott, Burgess and Pullmans motivation to write for children is also their aspiration to create a better society, ‘So Lyra and her daemon turned away from the world they we re born in, and looked towards the sun, and walked into the sky (NL, 397). As authors draw on their ideals to write for their audience, it is the book publishers who set the market trends and decide what children would like to read and subsequently influence what an author writes, an area touched upon with LW and Junk. Twenty first century novels show a commodification of childrens literature (Squires, 2009), in which we also see the decline of the individual author with publishers such as ‘Working Partners, where a storyline is created by a conglomerate of author /editors then given to a writer to create the book (EA300, DVD2). Thus providing a quick turnaround and commercial sense but little scope for individual ingenuity and signifying that as Hunt (2009b) says, ‘the cart of marketing, is driving the horse of creativity (p81). A further consideration on external influence is the competition from digital media, which as Burgess (2009) says also has a great impact on what children are exposed to, compounding the difficulty in producing literatu re that appeals to the modern child ,a fact he uses to support his hard hitting realism. Childrens literature has been seen to catalogue social, economical and political changes, embolic of societys view of childhood (Hunt, 2009b, p71), a view set as the gate keeping adult world considers what children need to read, putting additional pressure for authors to produce the ‘right book. In conclusion to Hunts statement, it would seem that in order to write a childrens book, the author must indeed have an idea of the child they are writing for, and this determines the form and content of their novel. Yet as we have seen they are also motivated by their own additional agendas, and this can lead to their constructed child being modified for their own purposes and also manipulated by the forces of modern media and marketing. This contributes to the complexity and often popularity of a novel that can then be read on many levels, Pullman could be seen as writing a religious allegory, propaganda or an adolescence adventure story. Authors still have their own view of what childhood should be, and incorporate this into how they believe it is or wish it to be seen. Our realistic view of the modern child is radically different from earlier popular books, such as Little Women, or Swallows and Amazons and as contemporary writers make efforts to loose the nostalgic view of childh ood innocence, there is also the concern that we are now ending childhood too soon, and as Jacqueline Wilson says forcing children to conform to societys teenage image (EA300, DVD2). Yet from Little Womens childish carefree plays to Junks depiction that children are now living real life adventures, we find that, as Lyra does, there is still always hope in childrens books. Childrens literature as Hunt (2009a) says shows what society thinks of childhood, and also what the author and we as adults need to believe it represents.

My First Job

My First Job I got my flirt job at sixteen because my parents required it. However, I had no intention of getting a job and wanted to continue being a teenager where I had little responsibility. As I looked around my hometown for a job, I found that there were not a lot available. I finally was able to find a Job close to my house at a local Dairy Queen working for minimum wage. Now that I had a Job I had to make decisions in time I spent between friends, athletics, and now work. Having a job gave me another outlook on life.It taught me about the importance of money and the consequences of my financial decisions. It also helped me to understand the control I needed on the flow of my finances and along the way taught me many life lessons. The first day of my Job was November 1 lath, 2012 and I was dreading It. I had heard stories of how terrible working In fast food Is and I had no Idea what to think. As I arrived on I had mixed feelings of fear and excitement. Dressed In khaki shorts and a Dairy Queen polo I walked in to my first job. I was greeted with smiles and friendly remarks such as good morning.The manager explained where I would be working and told me to wash my hands. As I walked to the grill area, where I would be working at, I saw a very clean and well-kept station. My co-workers were all nice and very helpful. As the shift came too close I realized that maybe this wouldn't be as bad as everyone had said. I quickly learned basics of the grill and picked up a few tricks along the way. I learned the precise time to pull the fries out, how to properly cook a chicken sandwich, and to constantly be stocked. Being stocked was a key factor In success cause I never knew when a team bus would pull up and I would get very busy.I remember coming to the end of a busy shift and talking that didn't seem Like SIX hours. The slow shifts were terrible because I wouldn't have anything to do and the hours would drag by. The first conflict I ever had at work came during a busy day in the summer. I was working the grill and we were slammed. There were a couple of softball fields down the road and they had held a tournament earlier that day. Was working hard trying to fill the orders in a timely manner when I heard someone yell about us not working cast enough.I found that really disrespectful to my co-workers and me because we were working very hard. Now no matter how long I wait for food at a restraint I never complain because I understand how hard It can get. After I had been a Dally Queen for a few weeks I was scheduled a closing shift. This being my first Job I had no idea what to expect. When my first closing shift neared the end and I knew I was In for a long night. Firstly, we were not allowed to start closing until the last customer left the store and that wasn't until about ten enormous.There was no washing machine in this store so every dish was to be washed by hand and there were around 100 dishes. The sweeping of the restaurant had to b e perfect and if there was a crumb left it would have to be redone. That first closing shift I did not leave the store until midnight. I learned to dread those closing shifts and only ever tried to schedule day shifts. I went on to spend 5 months at Dairy Queen but as my financial necessity grew I knew it was time for me to move on. I appreciated the opportunity the company had given me and the knowledge they provided me.When I turned in my two-week notice it was met with sorrow and well wishes. I realized in those last two weeks I took great pride in my work and enjoyed it more then before. My last day was filled with good-byes to my co-workers who now had become my friends. As I clocked out my last time I realized that I never wanted to work in the fast food industry again. The explicit work I did at Dairy Queen was preparing food and maintaining the fryers. The implicit work I did was making the food faster without making mistakes. When closing though my explicit and implicit wor k changed.Then my explicit work was to wash dishes and sweep the floors. My implicit work was to wash the dishes quickly and efficiently sweeping up the dirt and trash. At times I liked my Job and there were other times I disliked it. I liked that as a teenager I was able to pay for my own gas and also have some money if I wanted to buy something. I also liked it because it gave me a sense of responsibility because the people at my Job were counting on me to show up for my shifts. But I also didn't like my Job because I would sometimes miss out on hanging out with my friends cause I had to work.I picked up a few skills during my time at Dairy Queen such as how to make an ice cream cone, responsibility, patience, and appreciation. The one that I liked the most was how to make a perfect ice cream cone. The second skill that I acquired at Dairy Queen was responsibility. I had to have responsibility in showing up on time for my shifts, keeping my area clear of debris, keeping my hands s anitary, and keeping my food items well stocked. I learned to have more patience with customers because in the food industry customers can get bit nasty.Finally I learned to appreciate what employees working in fast food do. My first Job really changed my life in many ways. It gave me the opportunity to be financially responsible and to learn to manage my finances. It also taught me quite a few life lessons and ways I could improve myself in a work place atmosphere. I also was able to use it as a resume builder and I use my manager as a reference for other jobs. My first Job may not have been the best but I will use it as a tool for the future and will continue to build on what it taught me.

Chemical Stress Testing

Latasha Birge March 21st, 2013 MC 205 Week 4 Instructor Rein Chemical Stress Testing A chemical stress test is used when a traditional stress test (called a cardiac stress test) cannot be done. A cardiac stress test requires you to walk on a treadmill or ride a stationary bicycle until your heart rate reaches a level where your heart is â€Å"stressed†. You may not be able to participate in this kind of test if you have a condition such as a stroke.In this case, a chemical stress test is used. This test is used to help your doctor determine if you have any kind of heart condition causing the chest pain, if arteries to the heart have blockage or narrowing, identify an irregular heart rhythm, monitor the heart’s response to treatment or procedures, and plan rehabilitation after a heart attack. A stress test is a clinical standard often used to detect coronary artery disease.The imaging portion of the test is identical to that used during stress echocardiography or isotope stress testing and is performed either in a cardiologist office, a satellite lab or the hospital. An intravenous line is started in the arm, the blood pressure is checked and an EKG recorded. Common medications used for a chemical stress test include dipyridamole, dobutamine, and adenosine.Medication is supplied until 85 percent of your age-predicted maximum heart rate has been reached. In the initial phases of exercise in the upright position, cardiac output is increased by an augmentation in stroke volume meditated through the use of the Frank-Starling Mechanism and heart rate. Treadmill stress testing is the test of choice when a patient is able to exercise because of the physiologic effect that exercise has on the blood pressure and heart rate.It also helps give the physician an idea about the patient’s exercise tolerance and whether or not the exertion has any adverse effects on the patient’s symptoms or irregular heartbeats. The treadmill test involves walking o n the treadmill at a predetermined intensity based off of your fitness level. Every three minutes the speed will be increased. This continues until you reach 85 percent of the age predicted maximal heart rate. References www. thirdage. com>chemical-sress-test www. livestrong. com www. heartsite. com Chemical Stress Testing Latasha Birge March 21st, 2013 MC 205 Week 4 Instructor Rein Chemical Stress Testing A chemical stress test is used when a traditional stress test (called a cardiac stress test) cannot be done. A cardiac stress test requires you to walk on a treadmill or ride a stationary bicycle until your heart rate reaches a level where your heart is â€Å"stressed†. You may not be able to participate in this kind of test if you have a condition such as a stroke.In this case, a chemical stress test is used. This test is used to help your doctor determine if you have any kind of heart condition causing the chest pain, if arteries to the heart have blockage or narrowing, identify an irregular heart rhythm, monitor the heart’s response to treatment or procedures, and plan rehabilitation after a heart attack. A stress test is a clinical standard often used to detect coronary artery disease.The imaging portion of the test is identical to that used during stress echocardiography or isotope stress testing and is performed either in a cardiologist office, a satellite lab or the hospital. An intravenous line is started in the arm, the blood pressure is checked and an EKG recorded. Common medications used for a chemical stress test include dipyridamole, dobutamine, and adenosine.Medication is supplied until 85 percent of your age-predicted maximum heart rate has been reached. In the initial phases of exercise in the upright position, cardiac output is increased by an augmentation in stroke volume meditated through the use of the Frank-Starling Mechanism and heart rate. Treadmill stress testing is the test of choice when a patient is able to exercise because of the physiologic effect that exercise has on the blood pressure and heart rate.It also helps give the physician an idea about the patient’s exercise tolerance and whether or not the exertion has any adverse effects on the patient’s symptoms or irregular heartbeats. The treadmill test involves walking o n the treadmill at a predetermined intensity based off of your fitness level. Every three minutes the speed will be increased. This continues until you reach 85 percent of the age predicted maximal heart rate. References www. thirdage. com>chemical-sress-test www. livestrong. com www. heartsite. com

Reflection On Personality - 1341 Words

Personality is defined as â€Å"the combination of characteristics or qualities that form an individual’s distinctive character† (google dictionary, 2017), just by reading this definition you can tell that personality is a complex system to fully understand. There are a number of tools or assessments from many theories and approaches that help better understanding personality, pulling apart its complexity. I have already given a lot of thought about who I am as a person, what traits do I have, what do I lack and what this says about the person I am. But taking this class that focuses on personality helped a lot in my understanding of myself as well as maybe understanding other personality types. Reflecting on what I have learned I chose three†¦show more content†¦My results landed me in extraversion, intuition, feeling and judging personality type (ENFJ) or â€Å"the giver†. People with this personality type are people-focused individuals, having great p eople skills that make it easy to understand/care about people, getting satisfaction from helping others. Even though this type is very externally focused it is important for them to be alone and they are more reserved than other extraverted types. Some common traits also include being, straight-forward, very honest, loyal, exude self-confidence, are bright individuals full of potential, enjoys new challenges and need approval from others. Reading all about this personality type I couldn’t help but node my head along, agreeing to a lot of the qualities that are in this type. Almost scary how correct it was in defining me. You don’t think that you can easily be put into a personality type because I do believe everyone is different in their way but even with that belief you can’t deny the accuracy of the results. 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