Mon Masque A Moi French Essay

Mon Masque A Moi French Essay Le cours dà ©ducation artistique dà ©signe un ensemble complexe denseignements et dactività ©s se prolongeant pendant et en dehors les horaires scolaires. Ces actività ©s ont leur place à   là ©cole sans pour autant à ªtre toutes intà ©grà ©es dans les programmes denseignement. Là ©ducation artistique aide les à ©là ¨ves à   acquà ©rir des habilità ©s dans la vie sociale. Cest une discipline qui incite à   la crà ©atività © et à   la diversification. Cet apprentissage permet daccà ©der à   la culture dans le but de faire dà ©couvrir et construire pour apprendre à   voir, et à   analyser les productions dart. Tout au long de cette session, nous avons dà ©pouillà © le programme-cadre dà ©ducation artistique (1re à   la 8e annà ©e), du curriculum de lOntario. Ceci nous amà ¨ne à   la prà ©sentation dun scà ©nario dapprentissage de la dite discipline avec une intà ©gration des à ©tudes sociales et du franà §ais afin de rendre notre travail plus vivant et motivant pour les à ©là ¨ves de 4e annà ©e. Les à ©là ¨ves à   ce niveau dà ©ducation ont dà ©jà   bien explorà © le domaine des arts plastiques spà ©cialement la technique du modelage. Les manipulations vont cependant à ªtre moins difficiles et pas à ©tranges. Il faut aussi dire quils sont bien capables de faire des recherches grà ¢ce à   loutil informatique. Mon masque à   moi est un projet qui invite là ©là ¨ve à   à ªtre à   la fois spectateur et auteur. Ce projet offre de multiples possibilità ©s dexplorations ludiques. Il convient de prà ©voir des actività ©s dexploitation, de recherche et de production autour de la culture. Selon le curriculum des à ©tudes sociales ‘lidentità © culturelle de là ©là ¨ve est faà §onnà ©e par divers à ©là ©ments familiaux, sociaux et ethnoculturels (2004:18). De par la mixture dans les à ©coles, les à ©là ¨ves sont appelà ©s ‘†¦Ãƒ   se forger une identità © empreinte douverture à   la diversità © (2008:19), mais ceci ne serait possible que si ils prennent connaissance des origines de la culture des autres. Pourquoi le masque africain? Dans toute socià ©tà © humaine, le masque na jamais à ©tà © ignorà © dà ¨s que lon fait rà ©fà ©rence à   la culture. Que ce soit lors des reprà ©sentations traditionnelles ou des festivals, le masque a sa place et joue un rà ´le bien important. Le berceau des civilisations ou encore lAfrique, est le continent qui est trà ¨s cà ©là ¨bre pour son culture en gà ©nà ©ral et son art en particulier. Le masque est un objet trà ¨s artistique à   cause de son caractà ¨re dà ©doublà © et la diversità © de ses formes et styles. Ce scà ©nario dapprentissage,  «Mon masque à   moi » traite de lart dans la culture africaine. À la fin de ce scà ©nario, les à ©là ¨ves seront parfaitement en mesure de rà ©aliser une un masque africain tout en comprenant son origine. Ce scà ©nario est stimulant pour les à ©là ¨ves, car ils doivent constamment utiliser leur capacità © de raisonnement et ils dà ©couvrent une nouvelle dimension chez les personnes quils croyaient bien connaà ®tre (leurs pairs, les membres de la communautà ©, le personnel de là ©cole). À mesure que se dà ©ploie le scà ©nario, les à ©là ¨ves sont appelà ©s à   vivre de nombreuses expà ©riences dà ©quipes, allant de lhistoire du masque africain et sa symbolisation, à   la production de leur propre masque. Chemin faisant, ils consulteront les sites internet proposà ©s ou de leur choix en rapport avec la culture du masque africain. Cette leà §on sera proposà ©e aux à ©là ¨ves pendant le mois de fà ©vrier qui n est autre que le mois de la cà ©là ©bration de lhistoire des noirs. La salle de classe ayant revà ªtu les affiches officielles du mois des noirs, il est important que les à ©là ¨ves comprennent certaines facettes de lhistoire africaine. Ce scà ©nario est conà §u pour une utilisation immà ©diate pendant le mois de fà ©vrier. Il sy trouve en annexe une sà ©rie de documents utiles, qui faciliteront la tà ¢che aux enseignants: fiches pour les à ©là ¨ves, grilles dobservation, lettre aux parents, pictogrammes, à ©valuations formatives. Les adaptations nà ©cessaires pour les à ©là ¨ves en difficultà © et plusieurs actività ©s denrichissement permettent de qualifier ce scà ©nario denseignement diffà ©rencià © I. Tà ¢che globale I-1 Tableau de compà ©tences visà ©es Classe cible: 4à ¨me annà ©e du primaire Titre du projet: Mon masque à   moi Durà ©e du projet: 150 min Disciplines Éducation artistique Franà §ais Études sociales Domaines Arts visuels Écriture Communication orale Canada et le monde Compà ©tences visà ©es -Analyse critique et apprà ©ciation des productions artistiques -Application du processus de crà ©ation artistique Habiletà ©s de la pensà ©e Utilisation des habilità ©s de traitement de linformation Communication Expression et organisation des idà ©es et de linformation Connaissance et comprà ©hension Connaissance des à ©là ©ments à   là ©tude. Habiletà ©s de la pensà ©e Utilisation des habiletà ©s de planification. Communication Communication des idà ©es et de linformation, de faà §on orale, à ©crite et visuelle, à   des fins prà ©cises et pour des auditoires spà ©cifiques. Utilisation des conventions et de la terminologie à   là ©tude. Attentes Exprimer ses sentiments, ses idà ©es et son apprà ©ciation à   là ©gard de diverses productions artistiques, les siennes, celles de ses camarades et celles dartistes, en se servant de termes simples mais justes Produire une varià ©tà © dÅ“uvres à   deux et trois dimensions en appliquant les techniques apprises et en suivant sommairement les à ©tapes du processus artistique. -Planifier ses projets dà ©criture en utilisant des stratà ©gies et des outils de prà © à ©criture. -Produire des messages varià ©s, avec ou sans à ©change, en fonction de la situation de communication. Populations -Expliquer et comprendre les composantes de la culture et le fonctionnement des groupes Contenus dapprentissage Choisir une Å“uvre et justifier sa prà ©fà ©rence en se rà ©fà ©rant aux à ©là ©ments clà ©s, à   son và ©cu et à   ses intà ©rà ªts personnels (expliquer sa prà ©fà ©rence pour un masque) Expliquer les idà ©es et les à ©motions à ©voquà ©es dans diverses productions artistiques. Utiliser, seul ou en groupe, diffà ©rentes stratà ©gies de prà © à ©criture pour produire des textes Produire divers actes langagiers. Prendre la parole spontanà ©ment dans un contexte formel ou informel : de travaux dà ©quipe, aux à ©tapes de la planification, de la gestion, de la rà ©alisation et de lobjectivation Groupe- identità ©- communautà ©-reprà ©sentation Rà ©pertorier des articles en lien avec lactività © Dà ©montrer des attitudes positives à   là ©gard de ses obligations et nommer les contraintes qui simposent à   lactività ©. Expliquer comment un masque peut reprà ©senter un groupe de personnes Utiliser le vocabulaire approprià © au sujet à   là ©tude. I-2 Approches denseignement et stratà ©gies dapprentissage Afin de permettre la rà ©ussite chez le plus grand nombre dà ©là ¨ves possible, lenseignant devra prendre en considà ©ration les diffà ©rents styles dapprentissage des à ©là ¨ves et modifier son style denseignement en consà ©quence. Pour cette leà §on, les approches et stratà ©gies suivantes devront à ªtre privilà ©già ©es afin de permettre une rà ©ussite optimale des à ©là ¨ves: Approches denseignement Le travail en projet †¢ Permet à   là ©là ¨ve la libertà © de sexprimer par la crà ©atività ©; †¢ donne place à   lautonomie et la responsabilità ©; †¢ permet de respecter le rythme de là ©là ¨ve. Lintà ©gration des matià ¨res †¢ Prà ©sente un contexte plus rà ©el de la vie quotidienne; †¢ permet de revisiter les notions apprises dans dautres matià ¨res; †¢ motive davantage là ©là ¨ve, donne un sens à   ses apprentissages. Lapproche coopà ©rative †¢ Donne à   lenseignant le rà ´le de  « facilitateur  » dans là ©change; †¢ favorise lautonomie, puisque les à ©là ¨ves apprennent les concepts dorganisation et de planification par eux-mà ªmes; †¢ permet un apprentissage centrà © sur les à ©là ¨ves plutà ´t que sur lenseignant. Stratà ©gies dapprentissage Le travail de recherche †¢ Aide à   retenir lattention de là ©là ¨ve sur le contenu à   là ©tude; †¢ aide là ©là ¨ve à   obtenir de linformation et lincite à   trouver ses rà ©ponses sans toujours passer par lenseignante. Le projet †¢ Suscite la motivation de là ©là ¨ve par le sens concret de ses apprentissages; †¢ favorise le dà ©veloppement des stratà ©gies cognitives et mà ©tacognitives. Le questionnement oral †¢ Lors des prà ©sentations, le questionnement oral  « ouvert  » permet aux à ©là ¨ves dà ©montrant un style dapprentissage verbal de clarifier leur prà ©sentation. Il est nà ©cessaire et important que lenseignant prenne en considà ©ration les attentes du programme-cadre, lannà ©e dà ©tude en cours et les besoins de ses à ©là ¨ves en difficultà ©. Ces trois facteurs vont lamener à   faire un bon choix pour les options qui correspondent le mieux aux besoins des à ©là ¨ves en difficultà ©. I-3 Rà ©capitulatif du projet Intentions pà ©dagogiques * En apprendre plus sur les objets dart des pays de lAfrique francophone * Faire une recherche et travailler avec les Tics. Production finale * Crà ©ation dun masque africain et prà ©sentation de son chef- dÅ“uvre. Discipline principale * Éducation artistique Disciplines secondaires * Franà §ais et Études sociales Technologies utilisà ©es * Ordinateur et logiciel de traitement de texte Premià ¨re leà §on: voyage vers lart africain Deuxià ¨me leà §on: mon masque à   moi Lobjectif de cette leà §on est damener les à ©là ¨ves à   rà ©aliser une affiche en utilisant internet comme seule socle de recherche. Rà ©alisation dune affiche descriptive dun objet dart (masque). Organisation physique Matà ©riel requis Actività © 1: Prà ©paration du voyage * Une carte dAfrique * Copies du questionnaire * Crayons de plomb * Corbeil des enveloppes[1] Actività © 2: Laffiche * Ordinateur muni dinternet * Imprimante * Logiciel de traitement de texte Dispositif pà ©dagogique Pour lactività ©1, les à ©là ¨ves sont assis à   leur pupitre et le travail se fait individuellement. Pour lactività ©2, les à ©là ¨ves sont dans la salle informatique et le travail se fait en dyade. Actività © damorce Rà ©alisation Actività © 1 (30 min) Élà ©ment dà ©clencheur (5min) Lenseignant devra: * prà ©senter aux à ©là ¨ves lobjectif du projet * Puis leur montrer la vidà ©o[2] sur lart africain. Connaissances antà ©rieures (25 min) Pour la và ©rification des connaissances antà ©rieuresdes à ©là ¨ves au sujet de lAfrique, lenseignant devra: * Distribuer le questionnaire (annexe 2) aux à ©là ¨ves; * prà ©ciser que cest un travail à   faire individuellement; * rà ©pondre aux questions à   laide de son crayon de plomb aprà ¨s avoir pris soin de marquer son nom sur la feuille de travail; * prà ©voir 15 min pour rà ©pondre au questionnaire; * prendre 10 min pour apporter à ©là ©ments de rà ©ponses aux questions. La correction est collective. * former ensuite des groupes de deux; * expliquer que dans lenveloppe se trouve le nom du pays de leur prochaine actività ©. * inviter un membre de chaque groupe à   choisir une enveloppe. Actività © principale Actività © 2 (45 min) Afin de produire une belle affiche, les à ©là ¨ves pour cette actività © vont travailler avec loutil informatique. Ils vont utiliser internet pour trouver des informations pertinentes et intà ©ressantes pour leur affiche. Cette actività © se passe en salle informatique. Le travail se fait en dyade. Lenseignant devra: * demander aux à ©là ¨ves de se rendre en salle des ordinateurs. * remettre la fiche des instructions du travail à   faire (Annexe 3) * inviter les à ©là ¨ves à   consulter le modà ¨le de la production attendue au babillard de là ©ducation artistique de la classe (Annexe 4) si nà ©cessaire. pendant que les à ©là ¨ves travaillent, lenseignant circule dans la salle et contrà ´le là ©volution de leur travail. Il vient en aide à   ceux qui sont dans le besoin ou qui à ©prouvent des difficultà ©s. A la fin de la pà ©riode, les à ©là ¨ves qui nauront pas fini auront une dizaine de minutes en plus pour complà ©ter leur travail. Objectivation Lenseignant aprà ¨s avoir invità © les à ©là ¨ves à   regagner la salle de classe devra chercher à   savoir: * Comment ils ont trouvà © la leà §on, * Les difficultà ©s rencontrà ©es, * Ce quils ont aimà ©. II-2 Deuxià ¨me leà §on Mon masque à   moi (75 min) Planification Titre de la leà §on: Durà ©e de la leà §on: Objectif de la leà §on: Mon masque à   moi 75 min Lobjectif est de dà ©velopper chez les à ©là ¨ves les habiletà ©s motrices et faire la reproduction dun objet dart en lien avec celui de leur affiche. Matà ©riel requis Actività © 3: reproduction du masque * Carton mousse de dimension 29,7x 42 ou format A3 * Des bà ¢tons de pate à   modeler de diffà ©rentes couleurs * Spatules pour pate à   modeler * Rouleaux à   pà ¢tisserie * Assiettes en carton Actività © 4: exposition artistique * Les masques, * Les affiches, * Les feuilles dapprà ©ciation Technique: Regroupement Modelage Actività © 3: travail individuel Actività © 4: travail en dyade (groupe de lactività © 2) Dispositif organisationnel Actività © 3: Dans la salle des arts car les à ©là ¨ves ont besoin despace Actività © 4: salle de classe Miseensituation Rà ©alisation Lenseignant rà ©sume les actività ©s faites par les à ©là ¨ves dans la premià ¨re leà §on. Il dit aux à ©là ¨ves que la premià ¨re leà §on a aiguisà © leurs connaissances sur lAfrique et les a amenà © vers la confection dune affiche reprà ©sentant une Å“uvre dart descriptive. Ils ont compris que les Africains sont de faà §on gà ©nà ©rale de parfaits artisans car ils redonnent vie aux masques et crà ©ent des là ©gendes. expà ©rimentation Actività © 3 Cette actività © consiste à   la reproduction du masque que les à ©là ¨ves ont eu à   choisir pour leur affiche. Lenseignant aprà ¨s avoir pris soin de laminer les affiches des à ©là ¨ves va leur remettre leur copie afin quils puissent travailler en observant le masque quils ont eux mà ªme choisi. Lenseignant devrales directives suivantes: * Les crità ¨res de la production à   savoir: faire ressortir au moins deux à ©là ©ments soient les yeux, le nez, la bouche, les oreilles, par la technique du modelage * Seul lusage de la pate à   modeler et le matà ©riel fourni (rouleau pour aplatir la pate, spatule pour le dà ©coupage, lassiette en carton pour donner la forme du visage) est permis; * Le masque devra à ªtre prà ©sentà © sur le carton mousse fourni. * La dà ©coration du masque est une touche personnelle cest-à  - dire facultative. Il informe les à ©là ¨ves que cette actività © dure une pà ©riode de 40 min et quaprà ¨s ils devront faire une prà ©sentation de leur affiche et de leur masque en salle de classe. Actività © 4 Cette actività © est tout simplement la prà ©sentation des chefs-dÅ“uvre. Les à ©là ¨ves retournent en salle de classe avec leur travail. * Les masques sont exposà ©s dans la classe. * Lenseignant distribue les feuilles dapprà ©ciation aux à ©là ¨ves, * Il demande aux à ©là ¨ves de dà ©terminer sur la feuille dapprà ©ciation (annexe 6) * Les informe que le masque le plus aimà © sera remis à   la direction de là ©cole et sera exposà © dans une vitrine de là ©cole. Objectivation Les masques vont faire lobjet dune exposition dans la classe. Les à ©là ¨ves pourraient identifier sur la feuille dapprà ©ciation le masque quils ont aimà © et le plus drà ´le. Ils expliqueront leur choix en quelques lignes. Sur la mà ªme feuille, ils pourraient aussi faire un retour sur leur propre masque et dire si oui ou non ils ont aimà © lexpà ©rience. III. Intà ©gration des apprentissages Afin de faciliter le transfert des acquis et faire un lien avec la tà ¢che principale, lenseignant devra faire un rà ©capitulatif une fois le projet terminà ©. Vos travaux sont excellents, je suis trà ¨s fier de votre travail. Les efforts de chacun dentre vous sont visibles et rà ©compensà ©s par le rà ©sultat de son travail final. Quen pensez-vous? Êtes-vous fiers de votre Å“uvre? Quest ce qui a à ©tà © le plus facile pour vous? Quest-ce qui a à ©tà © plus difficile à   accomplir? Quelle actività © avez-vous le plus aimà ©? Quavez-vous appris en gà ©nà ©ral du projet? Pensez-vous qu partir de vos chefs-dÅ“uvre vous pourriez entreprendre le mà ªme genre dactività © en lien avec un autre domaine? La danse par exemple? Conclusion Là ©ducation artistique aide les à ©là ¨ves à   acquà ©rir des habilità ©s dans la vie sociale. Cest une discipline qui incite à   la crà ©atività © et à   la diversification. Elle favorise aussi la prà ©servation de la culture et des traditions. Par là ©tude des arts, il peut arriver que les à ©là ¨ves amà ©liorent leurs aptitudes et leur comprà ©hension du monde qui les entoure. Le scà ©nario dapprentissage que vous venez de lire invite les à ©là ¨ves à   sassumer entant que artiste-chercheur. Ils ont eu loccasion de faire une recherche sur internet et de pouvoir choisir un objet dart quils ont apprà ©cià © à   sa juste valeur en produisant une description de ce dernier. Ce scà ©nario est de type intà ©grà © et complet, à   savoir quil rassemble des approches et stratà ©gies denseignement qui vont dune part faciliter une adaptation pour les à ©là ¨ves prà ©sentant difficultà ©s et dautre part, permettre la rà ©ussite des à ©là ¨ves de la classe. Nous avons joint lutile à   lagrà ©able en fusionnant les à ©tudes sociales, les à ©tudes artistiques et le franà §ais tout en respectant les objectifs des attentes du programme-cadre des à ©tudes artistiques du curriculum de lOntario avec des actività ©s vivantes et passionnantes. Cest un scà ©nario trà ¨s motivant car lenfant est au centre de lapprentissage ce qui lui donne confiance, le motive, lui permet dacquà ©rir des connaissances grà ¢ce aux diffà ©rentes actività ©s prà ©sentà ©es, laide à   voir ses progrà ¨s, et le guide vers une à ©valuation positive. Questionnaire sur la prà ©paration du voyage virtuel 1. De quel continent les noirs sont ils originaires? 2. Nomme trois pays de ce continent: 3. Choisis trois pays francophones sur cette liste: Cameroun, Gabon, Nigà ©ria, Afrique du sud, Cà ´te divoire, Algà ©rie, Maroc. 4. De la mà ªme liste, choisis deux pays francophones dAfrique noire: 5. LAfrique a t- elle une capitale? Si oui nomme la; et si non pourquoi? 6. Nomme une personne noire cà ©là ¨bre et sa profession Travail à   faire 1- Aller sur le site: www.artisanat-africain.com 2- Cliquer sur longlet  «masques africains » 3- Choisir le masque correspondant au pays de recherche 4- Pour laffiche:  · Nom du masque  · Image sur masque  · Petite description du masque choisi NB: un exemple de la production attendue est affichà © au babillard pour à ©ducation artistique en salle de classe. Annexe 6 Feuille dapprà ©ciation [1] Dans chaque enveloppe se trouve une carte ayant le nom dun pays dAfrique francophone. [2] Vidà ©o disponible en ligne sur http://www.youtube.com/watch?v=TZdGIl39pwMfeature=related

Crimes and Misdemeanors Essay

For the past fifty years, director and actor Woody Allen has evoked much laughter from his neurotic-style comedies. Less recognized, however, is his fascinating ability in utilizing both his stunning, humorous wit along with several philosophical concepts. Such a combination creates an engaged and thoroughly entertained audience, as well as a mentally-stimulated one. In his movie â€Å"Crimes and Misdemeanors,† the philosophical concepts Allen touches upon deal with ethical and moral issues. What does ‘do the right thing’ really entail; why not do the opposite if it leads to one’s personal success? In the absence of a God, who’s to say whether the choices we make are right or wrong? Answering these questions say much about the way one sees the world. This movie investigates such questions by intertwining two separate, parallel plots: the tragic story of Judah, and the comedic story led by Cliff Stern . There are two key moral positions that underlie the entire movie: Those with faith in God perceive the world as morally structured, forgiving, and full of true meaning. Those who do not believe in a God see the world as empty, pitiless, and devoid of meaning. After watching this movie for the third time, a consistent metaphor that integrates these positions revealed itself. Throughout the movie, nearly every scene visually and verbally involves the use of ‘eyes’ to symbolize our perceptions on how we see the world, and how people do not see themselves and events the way others may see it. Although there are several elements, characters, and events worthy of an individual analysis, this paper will concentrate on how Allen’s film represents eyes to unveil hidden truths. To illustrate the use of ‘eyes’ in this film I will investigate its role in the lives of Judah, Cliff, and Rabbi Ben. Keep in mind that all four of these characters each wear over-emphasized glasses. Within the first few minutes of the film, Judah reveals he makes his living as an ophthalmologist. Judah’s occupation certainly comes as no coincidence, for it stems from his religious past. During a speech at a charity dinner, Judah relates to the audience this past: â€Å"I’m a man of science. I’ve always been a skeptic, but I was raised quite religiously, and while I challenged it even as a child, some of that feeling must have stuck with me. † He continues to say that his father once told him, â€Å"the eyes of God are on us always. Although he revokes his religious background, it’s apparent that this ‘feeling that stuck with him’ manifested itself in his occupation; in order to fill a void which religion would fill. With the removal of â€Å"God’s eyes,† Judah made the, perhaps unconscious, decision to take up a job that deals with seei ng†¦ thus assuming the role of God. He rhetorically asks the audience, â€Å"What were God’s eyes like? Unimaginably penetrating, intense eyes I assumed. † Judah’s relationship with his father left him with a sense of awe and fear of these â€Å"intense eyes† that could see past his deceitful acts. So, his concern with vision arises from his compulsion to hide the blemishes of his character. It’s evident that Judah sees himself as a moral man: wealth, success, and a valuable role in the community are reinforced by images of him wearing a tuxedo as he’s accompanied by his family. This â€Å"family man† portrayal describes Judah’s external appearance. Wouldn’t a man blessed with this amount of success persisted in doing â€Å"the right thing† all along? Judah’s morality is put into question once his mistress sends a letter to his wife, exposing Judah’s devious actions (Judah destroys the letter immediately before his wife sees it). Judah saw no troubles in fooling around, for his efforts made him happy and he was never caught (there is no God to see his immoral choices). The letter breaks Judah’s illusions of this fantasy world he’s been living. Judah says â€Å"it’s as if I’ve awaken from a dream,† to reinforce how he must now face reality. Interestingly enough, at this point Judah now wears a pair of glasses, when forced to look at his values and actions from a different perspective. So in Judah’s case, these glasses represent his inability to see the true nature of the world, which has now directly confronted him. Judah’s brother, Jack (who sets up for the mistress to be killed), accuses him of not â€Å"living in the real world,† due to his state of wealth and privilege. Judah’s success composes this blindness he has of the â€Å"real world. † Jack, defined as pragmatic and amoral, lives in this apparent â€Å"real world† for he represents honesty and a lack of illusions even though he exemplifies unjustness. Essentially Judah and Jack adhere to the same moral, or immoral, compass. However Jack acknowledges his lack of morality, while Judah’s success leads him to falsely believe he embodies ‘rightness. Jack represents the dark and immoral side of Judah’s consciousness. With his mistress unable to listen to â€Å"logic† and â€Å"reason† Judah states, â€Å"I manage to keep free of that real world, but suddenly it’s found me. † Darkness overpowering Judah’s conscious, results in the death of his mistress. Post-murder, guilt plagues Judah, leading him to consider confessing. The camera consistently focuses on his eyes, showing the audience Judah’s shock and dismay towards his own behavior. Afflicted with hallucinations of his religious past, he repeatedly hears the words from his father: â€Å"God sees all. Latent, unconscious beliefs in God awaken in Judah’s mind. In reference to the murder he says, â€Å"God have mercy on us, Jack† and â€Å"Without God, the world is a cesspool. † Judah’s guilt originates from his fear of getting caught as well as this â€Å"moral code† which has now been violated. Fear of â€Å"God’s eyes† or perhaps even Judahs father’s law dominate his mind as if they watch his every move, exposing his actions. The film shows Judah consistently looking left and right implying that â€Å"something† watches him. A final blatantly philosophical dialogue takes place as Judah visits his childhood house and envisions a past debate his family members had over morality. According to his father’s religious view, he will be punished even if he is not caught since â€Å"that which originates from a black deed will blossom in a foul manner. † This crime that Judah committed will some way or another be punished. As an opposition, his Aunt Mae provides the model which the film follows: â€Å"I say if he can do it and get away with it, and he chooses not to be bothered by the ethics, then he’s home free. Aunt Mae also encourages Judah’s father to â€Å"open his eyes,† disclosing the fact that six million Jews were murdered and Hitler got away with it. We all want to believe that we live in a perfect, moral world where justice is served, however this does not exhibit how the world really is. In fact, Judah proves his Aunt operates as a sort of Oracle. After a period of fear and irritability, Judah proceeds to live his happy life. Guilt passes, and the momentary belief in God grows quiet once more. One morning Judah opens his eyes and sees his conscious is guilt-free and the â€Å"crisis is lifted. Judah comes to ‘see’ that God is not watching, and in a world devoid of divine presence, all acts are permissible†¦ including murder. In Judah’s world, the â€Å"eyes of God† are attributed to himself. That determines his internal appearance. The second story line deals with a self-styled, passionate yet unsuccessful idealist filmmaker named Cliff (played by Woody Allen). In the opening of this narrative strand, Cliff delivers his beliefs on his world view to his niece after watching a movie: â€Å"Don’t listen to what your teachers tell you, just see what they look like, that’s how you’ll know what life’s really about. Cliff asserts that observing and questioning another’s motives elic its their values and true nature. Just listening and accepting the superficial, external appearance leads to a false impression and ignorance. To shatter this external appearance, Cliff uses film as a tool for exposing these lesser known ‘realities. ‘ In fact, ‘eyes’ are symbolized again through filmmaking as a method for displaying new perspectives. Relating to Judah’s world, by the film’s eye the audience maintains the ability to see past his artifice which other characters are blind to. Furthermore, in a movie that deals with God and seeing, the audience acquires those â€Å"God-like eyes† that see all; that Judah feared. In Cliff’s case, he uses film to exploit his foil, Lester. Cliff directs a documentary about television producer Lester (described as rich, famous, and successful), for a program entitled â€Å"Creative Minds. † Contrary to others, Cliff perceives Lester as shallow, pompous, and sub-mental. Lester supports his egotism by referring to his â€Å"closet full of Emmys† as an item that symbolizes material success. Cliff only directs the movie to gain financial support for his documentary about a philosopher named Professor Levy. Cliff describes his philosophical film as more substantial: â€Å"See no limos, no bimbos, no awards. This guy is just a thinker, an intellect. † The tension between Lester comes as a classic ‘flash vs. substance’ debate. Cliff prefers to create films that mentally-stimulate, rather than mindlessly entertain his audience. He wants to film quality films that matter, and have potential to change the world. Lester sees such ambitions as ‘grandiose fantasies’, favoring frivolous material that will sell and further his fame, usually synonymous with crass commercialism. In the real world, high aspirations do not pay off, you’ve got to deliver. All delivery, no essence. Flash and delivery mask our stigmas and flaws. Creativity sacrificed in return for power and money. Other characters in the film fail to see Lester’s pomposity, because they have been seduced and falsely impressed by his charisma and wealth. Cliff receives a minor victory over Lester when they preview a few scenes Cliff pulled together for the documentary. This short film reveals Lester seducing a mindless woman, compares him to Mussolini, and has his voice synced over an image of a donkey. The woman represents his shallowness, the donkey as a literal ‘jackass’, and the comparison to Mussolini represents Lester’s narcissism and hunger for power. The fact that Lester’s superficiality rewards him with power ticks Cliff off most, perhaps with a dose of jealousy. As he watches himself from this new perspective, a faint glimmer and widening of Lester’s eye acknowledges the fact that he ‘may not be perfect’ as Lester likes to put it. However he abandons the thought that he ‘deadens the sensibilities of a great democracy’ as Cliff loves to point out. In other words, this documentary was supposed to create a ‘profile of a creative mind’, however Cliff painted a picture of what he saw instead. Lester refuses to fully accept these notions, affirming this view does not represent the ‘real me’. Cliff questioned Lester’s values, and this contradiction of perceptions lead to Cliff’s removal from the film. As a sub-plot, both Cliff and Lester compete over an associate woman producer, Halley. In Cliff’s world, he believes he will truly win the girl over due to his values. The film hints at this: it shows Halley shrugging off Lester, making sarcastic comments towards him, and taking interest in Cliff’s side projects. At first, both Cliff and Halley see Lester through the same lens that the preview portrayed him as. During a wedding reception towards the end of the movie, the camera does an excellent job in illustrating how the opposite happens. A slight glimpse reveals Lester and Halley embracing each other, implying they are together. Without any words spoken, the camera depicts what Cliff thinks by focusing intensely on his eyes. A couple of things can be taken from this: Halley up until this point appears with glasses on. With Lester, she removes her glasses. Halley abandons her glasses, only after she abandons her values. With virtue thrown out the window, she nows sees the once pompous and arrogant Lester as ‘endearing’. Camera focusing on Cliff’s eyes suggests he is in utter disbelief. In his eyes, Cliff deserved the girl, for he promoted grander values. In his world, such atrocities do not occur. He utters a small phrase, â€Å"This is my worst fear realized. † The fear that the world does not operate in accordance with his inner-values. In the end, Cliff’s espoused idealism led to his ultimate downfall. Clinging to beliefs creates an illusion, an illusion that may betray us. A rabbi named Ben links together both plots. Morality, faith, and forgiveness make up Ben’s character (even Judah and Cliff refer to Ben as a ‘saint’). Ben embodies all the qualities that Judah’s father possessed, they both adhere to religious beliefs. At his core, Ben conceives â€Å"Without moral structure, there’s no basis to know how to live! † Ben relies upon objective, absolute rules to guide his behavior. Contrary to Jack, Ben represents the latent religious beliefs of Judah’s unconscious. However, Ben’s vision appears to deteriorate as the movie progresses. Ben literally goes blind in the movie. Figuratively Ben’s blindness foreshadows the coming ‘sins’ that occur, and signifies the immoral atmosphere that underlies this movie. Also, Ben’s blindness generalizes the fact that all religions are blind to the cruelty and corruption of the world. When Ben asks Judah if his issues with the mistress were resolved, he bluffs saying the woman eventually ‘gave up and moved away’. Ben responds â€Å"You got lucky! † Completely oblivious and blind to the actual murder, Ben trusts Judah’s word. As Judah’s success led to his blindness, Ben’s religion does as well. Judah points out Ben resides in the â€Å"kingdom of heaven. † In order to have faith one must disregard the negative, reinforce the positive, and believe we live in a just world. Through the lens of this â€Å"kingdom of heaven† justice is served. By dimming the lights on sinful acts, one can happily live about their life in sheltered ignorance. As the film comes to an end, a scene presents Ben sporting a pair of black glasses. These glasses indicate Ben has gone fully blind, and so has all moralities in this movie. By the end of the film, God abandoned all of society. The universe is indifferent to our actions: an apparent depiction of how the real world truly exists. â€Å"Crimes and Misdemeanors† illustrates an existential truth. We all have fantasies, stories we tell ourselves about our expectations of the world. These expectations usually fail to correlate with the way the world really is. We live in an imperfect and Godless world. The murderer prospers, the virtuous man fails, and the superficial succeed. The good guy does not always get the girl. Open your eyes, realize that all meaning is man-made. Realize that without an objective law mankind is free. Free to choose how we develop ourselves in this world, and where we look to for meaning. The individual is the arbiter on how to live. Our actions define us, not our dogmas. In the words of Professor Levy: â€Å"We define ourselves by the choices we make. We are, in fact, the sum total of our choices. Events unfold so unpredictably, so unfairly. It is only we, with your capacity to love that gives meaning to the indifferent universe. †

Belbin’s Theory Essay

When a team is performing at its best, usually each team member has clear responsibilities . Belbin suggests that, by understanding the role within a particular team, people can develop strengths and manage weaknesses as a team member. Belbin’s 1981 book Management Teams presented conclusions from his work studying how members of teams interacted during business games run at Henley Management College. Amongst his key conclusions was the proposition that an effective team has members that cover eight (later nine) key roles in managing the team and how it carries out its work. He categorized those roles into three groups: Action Oriented, People Oriented, and Thought Oriented. Each team role is associated with typical behavioural and interpersonal strengths. Belbin also defined characteristic weaknesses that tend to accompany each team role. He called the characteristic weaknesses of team-roles the ‘allowable’ weaknesses; as for any behavioural weakness, these are a reas to be aware of and potentially improve. Belbin suggested that, in order for a team to operate effectively, it needed a balance of nine different roles. Plant: Plants are creative, unorthodox and generators of ideas. If an innovative solution to a problem is needed, a Plant is a good person to ask. A good Plant will be bright and free-thinking. Plants can tend to ignore incidentals and refrain from getting bogged down in detail. The Plant bears a strong resemblance to the popular caricature of the absent-minded professor/inventor, and often has a hard time communicating ideas to others. Multiple Plants in a team can lead to misunderstandings, as many ideas are generated without sufficient discernment or the impetus to follow the ideas through to action. Resource Investigator: The Resource Investigator gives a team a rush of enthusiasm at the start of the project by vigorously pursuing contacts and opportunities. He or she is focused outside the team, and has a finger firmly on the pulse of the outside world. Where a Plant c reates new ideas, a Resource Investigator will quite happily appropriate them from other companies or people. A good Resource Investigator is a maker of possibilities and an excellent networker, but has a tendency to lose momentum towards the end of a project and to forget small details. Chairman (1981) / Co-ordinator (1988): The â€Å"Chairman/Co-ordinator† ensures that all members  of the team are able to contribute to discussions and decisions of the team. Their concern is for fairness and equity among team members. Those who want to make decisions quickly, or unilaterally, may feel frustrated by their insistence on consulting with all members, but this can often improve the quality of decisions made by the team. Clarifies goals; helps allocate roles, responsibilities, and duties; articulates group conclusions Shaper: A dynamic team-member who loves a challenge and thrives on pressure. This member possesses the drive and courage required to overcome obstacles. Seeks patterns in group work; pushes group toward agreement and decisions; challenges others Monitor-Evaluator: A sober, strategic and discerning member, who tries to see all options and judge accurately. This member contributes a measured and dispassionate analysis and, through objectivity, stops the team committing itself to a misguided task. Analyzes problems and complex issues; monitors progress and prevents mistakes; assesses the contributions of others; sees all options; judges accurately Team Worker: The â€Å"Team Worker† is concerned to ensure that interpersonal relationships within the team are maintained. They are sensitive to atmospheres and may be the first to approach another team member who feels slighted, excluded or otherwise attacked but has not expressed their discomfort. The Team Worker’s concern with people factors can frustrate those who are keen to move quickly, but their skills ensure long-term cohesion within the team. Gives personal support and help to others; socially oriented and sensitive to others; resolves conflicts; calms the waters; serves as an in-group diplomat Company Worker (1981) / Implementer (1988): The â€Å"Implementer† is the practical thinker who can create systems and processes that will produce what the team wants. Taking a problem and working out how it can be practically addressed is their strength. Being strongly rooted in the real world, they may frustrate other team members by their perceived lack of enthusiasm for inspiring visions and radical thinking, but their ability to turn those radical ideas into workable solutions is important. Completer Finisher: The â€Å"Completer Finisher† is the detail person within the team. They have a great eye for spotting flaws and gaps and for knowing exactly where the team is in relation to its schedule. Team members who have less preference for detail work may be frustrated by their analytical and meticulous approach, but the work of the Completer Finisher ensures the  quality and timeliness of the output of the team. Emphasizes the need for meeting schedules, deadlines, and completing tasks; searches out errors Specialist (1988): Belbin later added a ninth role, the â€Å"Specialist†, who brings ‘specialist’ knowledge to the team. Single-minded, self-starting, dedicated; provides unique or rare expertise and skills Specialists are passionate about learning in their own particular field. As a result, they are likely to be a fountain of knowledge and will enjoy imparting this knowledge to others. They also strive to improve and build upon their expertise. If there is anything they do not know the answer to, they will happily go and find out. Specialists bring a high level of concentration, ability, and skill in their discipline to the team, but can only contribute on that specialism and will tend to be uninterested in anything which lies outside its narrow confines. Note that Belbin was not arguing that every team has to have a minimum of nine members. Individuals within the team may take on more than one role each. As long as all the roles are filled, the team will be more likely to be effective.

The Youth Law Leadership Institute - 1835 Words

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