No title

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Russian 75

A long, long time ago in an unimaginably horrible place, a peon stared at a decrepit, filthy wall, wondering why and how his life had come to such a disgraceful end. Imprisoned for life, the peon had ample time to think about what he had done and why he had done it; but he could not figure it out. Age crept up on the old peon. It had been fifty years of introspection and profound recollection before the peon realized that he was not at fault for the death of the young girl. The peon decided to recount the events of that tragic day one last time, weighing all possibilities before he was incapable of doing so.

It was a beautiful, summer day, when the high-spirited peon decided to go for a walk in the forest near his abode alongside a gully. Little did the peon know, this particular gully was enchanted. The peon began skipping rocks and was interrupted all of a sudden by a dark, mysterious voice. "You will kill the one of my desire," was the command of the anonymous voice. Petrified yet intrigued, the peon slowly walked toward the voice. The peon came upon a caterpillar as miniscule as a baby's baby toe and immediately began to laugh. Assuming that the mysterious voice came from the caterpillar, the peon laughed hysterically. "What's so funny," the caterpillar intervened. The peon replied, "You are the one who has summoned me. You want me to kill someone of your desire?" The caterpillar stared at the peon without the slightest emotional expression. The peon continued, "And what if I don't?" The caterpillar abruptly laughed and said in a soft but malevolent voice, "Why don't you take a look at what's behind me?" An enormous silhouette arose from the subterfuge of the trees; its shadow enshrouding all the peon could see. The peon trembled in utter fear. The monstrous figure approached the peon, frightening him so much, he entered a state of temporary paralysis. The peon's lips continued to quiver uncontrollably as the monster drew closer until it was within inches him, leaving the peon motionless. The monster leaned down so it could see eye to eye with the peon. The peon was so scared he could not see straight, so he did not clearly see what the monster looked like, which, in retrospect, may have been to his advantage. He knew a monster of that size, power, and evil could have haunted him for the rest of his days. The monster whispered something in an indiscernible tongue. The peon had never heard such frontier gibberish, but somehow understood what it was he was supposed to do.

The monster had cast a spell upon the peon, leaving him in a trance-like state, with no control of himself, physically or cognitively. The peon found himself in a scarcely inhabited, rural village, consisting only of decent and generous people. Although the peon was in the village with only evil intentions and had no communicative skills whatsoever, the villagers welcomed him and took him in. A feast was prepared and a celebration was in store for the newcomer. The peon wandered the village during the party, seemingly aimlessly, but the peon, controlled by the monster, had one thing on his mind death. An innocent little child walked toward the peon. Possessed, the peon could barely determine the appearance of the child, but there was something about the child's soft, sweet voice that was appealing to the peon. He listened intently as the little girl rambled incoherently about the sun, flowers, and other things that made her happy. The peon kept hearing the monster's voice instructing him to kill the little girl simultaneously as the girl was talking. This is where the story becomes unclear. The peon blacks out at this point and awakes in prison. However, for this final recollection, everything that transpired that day became clear. The peon recalled panicking, picking up the child to keep her safe from the monster, and running frantically toward the central district of the village to gather the other villagers in an attempt to prevent the monster from causing any harm to the child. A strange thing happened when the peon did this. The child was fussing and fighting, screaming and kicking as if the peon was trying to harm her. As the peon ran with the child in his arms, the child's remarkable strength and stubbornness allowed her to break free of the peon's grip, as if someone or something had possessed her. The child then fell to the ground, hit her head, and was unconscious, and the peon was blamed. The peon had an epiphany maybe the monster made the child behave in such an unusual way. The peon also remembered the previously insignificant fact that the body of the child disappeared, and she was only presumed to be dead, never officially buried. What could have happened to the body? Was she dead or not, the peon thought to himself. Then it hit him. The caterpillar had a strikingly similar voice as the child when she was throwing a fit when the peon was trying to save her. The peon was outraged. He had spent decades in solitary confinement for no reason. He began to scream. He noticed the wall of his cell crumble somewhat as he screamed so he proceeded to bellow as loudly as he could. The entire wall of his cell collapsed, and the peon was free. The peon was amazed temporarily, but he knew what must be done so he set out for the enchanted gully, hoping that the child was still okay.

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He arrived at the gully to find that it was infested with caterpillars, all with similar voices. The monster had been casting spells on older men, possessing them to either kill or if unsuccessful kidnap the child. After killed or kidnapped the monster could turn the child into a caterpillar making it an eternal slave of his domain (the enchanted gully). The peon did not receive a warm welcome. Every caterpillar screeched to warn the monster of the peon's unexpected arrival. The monster appeared out of thin air, and was bigger and stronger than ever. Its power increased with every man he subdued, and child the subdued man kidnapped or killed. However, the peon was fearless. The monster towered over the peon and stood over him in an attempt to intimidate him. Not a word was said. The monster stood over the peon breathing heavily and the peon stood his ground staring back into the monster's eyes. The peon knew the monster would have to say something witty or frightening before it killed him. As the monster began to talk the peon intuitively removed a sword from a sheath hidden under his cloth apparel and struck the monster what seemed to be its ankle. The monster laughed, and said "You are no match for me, cease your futile attempts." The peon was not discouraged. He continued to strike. The peons relentless attacks seemed to do nothing, and the monster just stood there and laughed. The aged peon eventually grew tired, and stopped attacking. As the peon sat down he crushed several caterpillars and noticed the monster cringed in pain. The peon immediately gathered up what strength was left in him and began stepping on every caterpillar he could find. His sword was flailing as he stomped erratically, almost fortuitously killing more caterpillars. The monster was decomposing more and more with every dead caterpillar and was unable to fight back. The peon did not even bother to look at the monster as he decimated the plethora of caterpillars. It was not long before the monster had decomposed into nothing.

The peon had defeated the monster. Shortly after his victory, the peon's skin began to return to its original state on the day of the encounter with the monster and the caterpillars transformed back into children. The only problem was finding a home and caretakers for the children. There had to be two thousand of them. The peon did a very brave and generous thing. He took the children in; worked day and night to raise every single one of them, and lived to see each one of them become an adult and start a life of his or her own.

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The Killer Angels Paper

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"The killer Angels" my feelings on this book are the same since the first day I sat down to read or look over it. I would have to say that this book was put together more as a way to describe the emotional and psychological aspect of war rather then the actual fighting and killing. This book deals with the struggle of fighting your own friends and family in this war. I also believe it to be an account of the war as tragic and somehow made 'sacred' by the enormity of the courage, suffering, and sacrifice. If you do not win the battle or war was it even worth it?

When I first heard the title "The Killer Angels" on a handout presented to me I had no idea what to expect. The subject to Michael Shaara's book is not at all evident in the title. When I finally got my hands on the actual book itself and read through its chapters is that I realized what that title actually meant. Sharra tells of a war where it is clear that many of its men are almost fighting a war inside themselves to fight a war against there own brothers. I good example of this thought is present in a quote Sharra presented to us in the forward from Robert E. Lee. It says

With all my devotion to the Union and the feeling of loyalty and duty of an American citizen. I have not been able to raise my hand against my relatives, my children, my home. I have therefore resigned my commission in the Army….

With this quote from a letter, it is very clear that Robert E. Lee could not stand the fact that he has to fight against people from his own family and that he has to do it on his homeland. It also sounds as if this war, by many does not even want to be fought. In Monday, June , 186 Chamberlain episode this line explains why many of the men are there fighting.

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Some of us volunteered to fight for the Union. Some came in mainly because we were bored at home and this looked like it might be fun. Some came because we were ashamed not to. Many of us came… because it was the right thing to do. All of us have seen men die. Most of us never saw a black man back home. We think on that, too. But freedom… is not just a word.

With that line in mind it sounds as if many of the men there are not even the least bit concerned with the actual meaning of the war. It sounded to me like a game of "follow the leader". If he goes then I should go as well. This line also in Chamberlain episode makes it sound as if many of the men are new to the meaning of the war or at least confused.

This is a different kind of army. If you look at history you'll see men fight for pay, or women, or some other kind of loot. They fight for land, or because a king makes them, or just because they like killing. But we're here for something new. I don't … this hasn't happened much in the history of the world. We're in an army going out to set other men free.

Since in my perspective many of the men who were brought into the war were not sure why they were there it brought to mind that during and after the war they had to be thinking to themselves "Is this fighting even worth it?" or "Why the heck am I risking my life for this?" In July , 186, episode 5 Longstreet says "They had all died for nothing and he had sent them in." It sounds to me that he fully regrets sending his men in like that. He feels that so many men had just lost their lives for something that might not have even been worth it.

It seems to me that war is blind, pathetic, and absurd as wars must always be. This line is stated in Friday, July , 186, Chamberlain episode

He sat looking down at his bloody leg, feeling the gentle wind, the heat from the south, seeing Kilrain dead on a litter, no more the steady presence. Sometimes he believed in a Heaven, mostly he believed in a Heaven; there ought to be a Heaven for young soldiers, especially young soldiers, but just as surely for the old soldier; there ought to be more than just that metallic end, and then silence, then the worms…

When I first read this line I was almost disgusted by it. It just really hit me the way they must have felt whenever they were injured or one of their collegues is lying there dead next to them. I can only imagine what it was like to wake in the morning happy that you made it through the night alive. All that could have been avoided and that is one of the biggest reasons that I feel war is blind, pathetic, and absurd. Although many are now considered hero's for their acts in war, the disputes that they war was over could have been settled in some other way and the outcome could have been even better then the one that prevailed.

Michael Shaara did a great job in portraying the feelings and emotions of war heroes to the readers of "The Killer Angels". He not only grasped the emotional aspect of the soldiers he was also able to almost dive into their minds and get a physicological view as well. It brought to view how much pain and suffering a soldier goes through for their country and why they are considered heroes.

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Collaboration in Teaching

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Collaboration in today's diverse classrooms is essential if the needs of all students are to be met. Collaboration in teaching today means that teachers share a joint responsibility to teach the students under their care. Due to the many changes in schools today such as inclusion and least restrictive environment, collaborative teaching is able to address the needs of all students, with or without disabilities. Increasingly, teachers are realizing the many benefits of teamwork. Advocates of this method say that collaboration "promotes active learning, critical thinking, conceptual understanding, long-term retention of material, and high levels of student satisfaction" (Unknown, 14). But in order to accomplish these goals and be successful, teachers must overcome obstacles inherent to working with another teacher. They must learn to be more flexible, to focus on each other's strengths, and to maintain communication above all else. Preparation is also key in successful co-teaching. Ideas and concerns should be discussed daily so that students' needs are met. Everyone involved must work to enhance the classroom climate, being careful no to radically change it. Integration of individual expertise in content areas and pedagogy through collaborative teaching produces teachers who are more capable of working with diverse groups of students. Co-planning and co-teaching, when done well, can result in the building of trust between not only teacher to teacher, but student to teacher as well. Other results are a learned flexibility, formation of partnerships, team problem solving, and an amazing ability to meet the needs of all students. Above all, we must keep the faith and believe that what we are doing is in the best interest of our students.

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Ukiyo-e prints

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Varieties of Subject Matter in Ukiyo-e Prints

The Japanese woodblock print has been one of the more fascinating aspects

of Japanese aesthetic expression to western culture. Ukiyo originally was the Buddhist term for the fleeting secular world in contrast with the spiritual reality of Buddhism (Munsterberg 16) though in the Edo period the term was appropriated to designate in particular the red-light pleasure district of Edo, the Yoshiwara. This floating world of pleasure and amusement, often of an erotic type was the setting for a large number of ukiyo-e prints. (Munsterberg 16). Ukiyo-e prints in particular emphasized three primary subjects; the depiction of women and actors, genre scenes of daily Japanese life, and the depiction of nature. This range of subjects is represented by the six great masters of the ukiyo-e tradition, and formed the aesthetic foundation of Japanese printmaking for the next two hundred years.

The depiction of the women and actors of the floating world was the most predominant subject matter among the six great masters of the ukiyo-e print. Kitagawa Utamuro, Suzuki Harunobu, and Torii Kiyonaga were all interested in particular in the depiction of women in the floating world. Each of the three artists whose primary subjects were women portrayed them in a unique style peculiar to their own aesthetic sensibilities, though Utamuro is generally acknowledged to be the greatest artist of womanhood (Paine 66). Utamuro particularly excelled in his portrayal of erotic subject matter; it has been said that he is probably the greatest master of this genre in the entire history of the Japanese print. This however was not the only aspect of womanhood he portrayed. Utamuros women have been said to be more a vision of the artists notion of ideal beauty than of the beauty of any particular women he painted; he portrayed women beautiful as types rather than as individuals (Paine 66). The vision of ideal beauty which Utamuros women exhibited was unlike the typical Japanese girl of the times, women who were tall and slender and who were well aware of their erotic appeal and elegant beauty, which exercised such a fascination over men (Munsteberg 8). The print Mother and Child was one of Utamuros non-erotic prints genre where he portrays the delicate relationship between mother and child. Robert Paine describes his ability such that nor has any other Japanese artist handled the tender relationship of mothers and babies so ably and yet without sentimentality (Paine 67).

Suzuki Harunobu the youngest of the six great masters; his women were characterized by graceful, delicate, willowy beauty (Munsterberg 4). His prints have been described as containing a poetic mood as well as sheer delicacy and charm (Munsterberg 50). This is especially evident in the print Girl on a Temple Stairs Performing an O-Hyakudo Dance where the lyricism and delicacy of Harunobus women is evident, as well as the interplay of a curving figure against straight lines (Paine 65).

Torii Kiyonaga is another of the great masters whose primary subject was the portrayal of women. Kiyonaga depicted tall, stately women who by Victorian writers like Fenellosa were compared to Greek goddesses (Munsterberg 80-1). His style combined realism and idealism, producing a simple grandeur and perfection (Munsterberg 80). Like all of the great masters his women were idealistically portrayed, which perhaps may be attributed to the sense of unreality in the floating world. These characteristics are especially evident in the print The Wind (c. 1780) in the hashira-e style (Takahashi 7). The verticality and simplistic, emotionally neutral beauty of the woman is characteristic of the comparison people have made between Greek goddesses and Kiyonagas women.

Along with the emphasis on the women of the floating world, the kubuki actors who inhabited the Yoshiwara were a subject which was explored by the great masters of ukiyo-e printing. The prints, called yakusha-e (Takahashi 7), were the focus in particular of the great master Toshusai Sharaku. Unlike the masters of ukiyo-e printing who focused on their attentions on women subjects, Sharaku doesnt idealize his subjects; he is a staunch realist. His portrayals of the actors of kabuki theater showing the actor as he actually looked rather than being an idealized portrait of him, they have a truthfulness and psychological depth not usually found in Japanese art (Munsterberg 101). His portrayal of the actors without their usual idealized glamour (Munsterberg 101) angered the public, and this may have been the reason why these prints did not enjoy the same popularity as did the very idealized portrayals of courtesans that Utamuro was producing at the same time (Munsterberg 10). His print The Actor Otani Oniji III is striking for its depiction of psychological depth, in particular anger, which was not often depicted in Japanese art.

Genre scenes were another important subject matter among the great masters of ukiyo-e printing, particularly in the work of Katsushika Hokusai. Though Hokusai created a large number of landscape prints, his emphasis was always on the relationship of man and nature Hugo Munsterberg writes that

Hokusai mirrors the entire world of contemporary Japan drawn in a very spirited, informal manner with a wonderful use of line. The emphasis is on the people shown in all kinds of occupations and positions working and sleeping, wrestling, fighting and making love, elegant ladies and poor beggars, ordinary laborers and farmers, as well as ghosts and grotesque monsters. In addition there are landscapes and buildings, birds and animals, flowers and trees, as well as scenes from history and legend- a whole encyclopedia of Japan in the Edo period (Munsterberg 11).

His print Fugi from a Lumberyard from Thirty Six Views of Fuji (c. 185) combines a narrative description of Japanese life while at the same time, with the presence of Mount Fugi, emphasizes the distinctively Japanese nature of the scene.

Nature also was a theme of ukiyo-e printmaking which was represented by the great masters, in particular, Ichiryusai Hiroshige.

In contrast with Hokusai, who was more interested in the human activity taking place in his pictures than in the aspects of nature, Hiroshige was primarily concerned with the impressions he got from the landscape at various times of the year (11).

Hiroshige is generally credited with (along with Hoksai) reestablishing the traditional focus of Japanese aesthetics as one based upon an appreciation of the natural world.

In his print Sudden Shower at Ohashi from One Hundred Views of Edo (c. 1857) Hiroshige captures the sensitivity and lyrical quality of the Japanese view of nature. No one up to that time had ever brought the scenery of Japan the sensitivity and poetic temperament of this artist (Munsterberg 1). Unlike Hokusai, whose paintings of the natural world were more concerned still with man as the focus of the print, Hiroshige fully restores nature as the focal point of Japanese aesthetics. When people appear in Hiroshiges works, such as in Sudden Shower at Ohashi, they are in harmony with nature rather than struggling against it, despite what might often be thought of as adverse conditions.

The variety and sophistication of Japanese woodblock prints has made them one of the most popular and treasured forms of Japanese aesthetic expression, particularly in western culture, where the prints have been seen to nearly epitomize the Japanese sensibility.

Munsterberg, Hugo. The Japanese Print. New York Weatherhill, 11. Pine, Robert Treat, Soper, Alexander. The Art and Architecture of Japan. Hong Kong Penguin, 158.

Takahashi, Seiichiro, tr. by Richard Stanley Baker. Traditional Woodblock Prints of Japan. New York Weatherhill, 17.

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Tai Chi Philosophies

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Tai Chi is a style of movements that is based on the meridian system which is also used in acupuncture. Most styles of tai chi are grounded in martial application; the most popular styles of the martial tai chi are the Chen, Yang, the Wu, Hao, and Sun style. The first style was the Chen style and the other styles soon followed.

"Whoever practices Tai Chi regularly will in time gain the suppleness of a child, the health of a frontier man, and the peace of mind of a sage." (Unknown).

As the quote says you should practice tai chi on a regular basis because of the great health benefits. Some health benefits that cannot be clearly seen are the relief of stress, imbalances in the body, and disease, among others. To achieve good health from tai chi is to balance the energy, to balance the energy there are a series of forms, and each form has a series of movements with a set beginning and end. While moving through these postures or forms the knees should always be slightly bent, the head lifted, and the spine straight, this is done so the chi can flow freely, and harmony can be reached between the two opposing forces of yin and yang. When there is a harmony between these two forces that is when there is a balance and the health benefits occur.

The Eastern and Western thought can be combined to achieve holistic health because the Eastern is the tai chi, or exercise part and the Western is the diet. If you combine the exercise which causes the energy to flow and relieve pain with the right diet your body will be in the perfect balance it needs to be.

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"The study of Eastern philosophies provides a life path for compassion, peacefulness, reflection, energetic healing, and enlightment." (Unknown).

The philosophy I believe in is the Taoist Philosophy which is based on the teachings of Lao Tzu. The Taoist philosophy emphasizes the belief that continuous change is necessary for life. The Taoist principles apply not just to beauty but to function, and people as well. "The great unity of all that exists is called Tao, and change is the only thing constant in Tao. (Ray Wood). From the beginning of creation non violence, non aggression, non competition and compassion have always been the essence of Tao. The philosophy also states that "to move and act spontaneously from your nature and without purpose is the only way you can become one with the universe." The Tao moves by flowing its nature according to its own principles. It flows effortlessly, without purpose, and without a goal. As I think of my lifestyle I believe in the same thing. I never get too attached to something, I always live for the moment and I am very spontaneous.

The basic principles of movement are Straighten the Head, Use the Mind to Direct the flow of Energy, Focus on continuous movement, Coordinate Upper and Lower body Parts, and Weight Distribution. All five of these principles are important when doing tai chi because first your head needs to be straight so the energy can flow. Once you feel the chi that is when you use your mind to direct the energy and focus on continuous movement to keep the energy flowing. By coordinating your upper and lower body movements it allows you to learn the movements and keeps your body from ceasing. Last is the weight distribution this helps your body to flow with agility, ease and lightness. If the proper weight is not distributed evenly your body will not move properly causing you to have pain. Also you will have no balance and your opponent will be able to move you easily.

"Each movement is a chance for us to make peace with the world,

to make peace possible for the world, to make happiness possible

for the world." (Thich Nhat Hanh).

Meditation is the practice of being silent, it develops a greater awareness, clarity, and peace in you life. Meditation also produces an inner revolution in every individual. This leads to right consciousness, right breathing, right sleep, and right sexuality. (Ray Wood). The main purpose for meditation is to make your mind peaceful and recharge your energy. Some Chinese philosophies believe that if you achieve a high level of meditation it is to be believed that you can develop healing powers. During meditation you will feel the chi flowing inside your body. When the meridian channels are clear the chi will be very strong and that is when the healing begins. When engaging in meditation your mind will become peaceful. You will be free from worries, and mental discomfort, and after time resulting in true happiness. Eventually through continuous training you will be able to stay happy all the time, no matter what your worries, or thoughts may be. By performing meditation you create an inner space and clarity that enables you to control your mind. By meditating often you develop a mental equilibrium. Eventually you will be able to eliminate the delusions that are the cause of your problems.

Please note that this sample paper on Tai Chi Philosophies is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Tai Chi Philosophies, we are here to assist you. Your persuasive essay on Tai Chi Philosophies will be written from scratch, so you do not have to worry about its originality.

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Employer Attitudes and Hiring Practices of Workers with Disabilities

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Running Head WORKERS WITH DISABILITIES

Employer Attitudes and Hiring Practices of Workers with Disabilities

Kristen J. Parsons

Park University

Employer Attitudes and Hiring Practices of Workers with Disabilities

Employer Attitudes

According to the U.S. Bureau of the Census (as cited in Hernandez, 000), there are roughly 54 million workers that possess physical, intellectual, or psychiatric disabilities not institutionalized. The range of disabilities can include epilepsy, intellectual and learning disabilities, mental retardation, physical, psychiatric, sensory disabilities, and disabilities in general. With more disabled workers entering the workforce, employers have been forced to alter their attitudes and hiring techniques concerning this vast, untapped resource. In a study by Cornell University (000), researchers surveyed federal and private employers to determine their attitudes and responses to the employment of individuals with disabilities. They have found that a significant portion of the employers' supervisors and associates had negative attitudes towards individuals with disabilities. According to Susanne Bruyere, Ph.D. (000), the principle investigator and director of Cornell's Program on Employment and Disability, the obstacles that hinder employees with disabilities exist largely due to negative workplace attitudes and supervisor's lack of training and information on the Americans with Disabilities Act (ADA). Despite an increase of laws intended to address employment discrimination and provide workplace accommodations for qualified workers with disabilities, the employment rate of individuals with disabilities has increased only a small amount since the late 180's (Unger, 00). Employer attitudes towards people with disabilities are an important factor in the high unemployment rate of individuals with disabilities. Several studies have examined employer attitudes toward individuals with disabilities in the workplace, according to the type of disability the individual has. Prior to employer compliance of Title I regulations of the ADA, Minskoff, Sautter, Hoffman, and Hawks (as cited in Unger, 00) assessed employers across nine different industries concerning their attitudes toward individuals with learning disabilities. One third of those surveyed specified that they would not knowingly hire an interviewee with a learning disability. Employers from a variety of businesses and industries believed that workers with mental and emotional disabilities were of a greater concern than those employees with physical or communication disabilities. Employers expressed little concern about coworker acceptance or the ability of workers with disabilities to interact with other workers in the organization. They were least of all worried about the ability of persons with physical disabilities to socialize with other workers and work as part of a team. The good news is that more employers are starting to express positive attitudes toward hiring workers with severe disabilities, as well as seeing these individuals as dependable, productive workers who can interact socially and promote positive attitudes in their coworkers.

Hiring Practices

According to the U. S. Department of Labor ("What You Need to Know", 00), the first thing employers need to recognize when marketing to people with disabilities, is that they have the same preferences, attitudes, and needs that people without disabilities have when looking for employment. Employers interested in employing people with disabilities can use a variety of strategies when attempting to recruit individuals with disabilities. There are a number of services available which provide employers assistance when searching specifically for qualified workers with disabilities. The U. S. Department of Labor's Office of Disability Employment Policy has contracted for the Employment Assistance Referral Network (EARN), which provides all employers with a direct connection to the local employment provider ("Recruitment", 001). This national referral service will receive a toll-free call from the employer requesting a qualified, disabled applicant. The EARN personnel then takes the employer's information and relays it to a local employment provider, who has contact with the appropriate job candidate. Once the providers are recognized, EARN calls the employer back and provides the employer with the appropriate contact information. EARN is also an informational referral resource that provides employers with support related to the employment of individuals with disabilities. This assistance could be in regard to tax credits, laws, interviewing techniques, recruitment, as well as, ways of handling coworker attitudes, and reasonable accommodations for people with disabilities.

Another service, which provides information about job accommodations and the employability of people with disabilities, is the Job Accommodation Network (JAN). JAN is a service of the Office of Disability Employment Policy (ODEP) of the U.S. Department of Labor ("Welcome to the JAN", 00). Their mission is to assist in the employment and preservation of workers with disabilities by offering employers and employment providers information concerning job accommodations, and the ADA. JAN helps employers hire, promote and retain employees with disabilities as well as assisting in educating them about their responsibilities under the ADA and Rehabilitation Act. According to the ADA, once an employer has 15 or more employees they are required to provide qualified individuals with disabilities an equal opportunity to benefit from the full range of employment-related opportunities available to others. Employers must comply with specific requirements related to reasonable modifications to policies, practices, and procedures; effective communication with people with hearing, vision, or speech disabilities; and other access requirements ("Guide to Disability Rights", 00).

Disability still remains a barrier to entrance to the workplace. Unfortunately, people with disabilities are underrepresented in the job market, despite their desire and ability to work. Employers are becoming more willing to employ people with disabilities; however, they still seem to have many misconceptions regarding the hiring and accommodating of individuals with disabilities.

References

Americans with Disabilities Act (ADA), (Accessed 1 October 00), A Guide to Disability Rights Laws.

http//www.usdoj.gov/crt/ada/cguide.htm

Cornell University (Accessed 17 September 00), Americans with Disabilities Act Implementation in Federal and Private Workplaces.

http//www.ilr.cornell.edu/iws/ada_wi.pdf

Hernandez, B. (Accessed 17 September 00), Employer Attitudes Toward Workers with Disabilities and their ADA Employment Rights A Literature Review.

http//www.findarticles.com/cf_0/m085/4_66/6886540/print.jhtml

Office of Disability Employment Policy (Accessed 0 September 00), Job Accommodation Network Homepage.

http//www.jan.wvu.edu/

Unger, D. (Accessed 1 October 00), Employer's Attitudes Toward Persons with Disabilities in the Workplace Myths or Realities?

http//www.worksupport.com/Main/proed17.asp

U.S. Department of Labor (Accessed 1 October 00), Marketing to Customers with Disabilities.

http//www.dol.gov/odep/pubs/ek7/market.htm

U.S. Department of Labor (Accessed 1 October 00), Recruitment! Recruitment! Recruitment!

http//www.dol.gov/odep/pubs/ek01/recruit.htm

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Dada Kamera: Performance Response

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IN ON IT

Performance Response

Dada Kamera's performance In On It showcased in the Fresh Terrain Festival is a powerful performance of two gay men, This One and That One, who are working on play within a play. The play they are working on is the story of a man who has just found out that he is terminally ill and only has a short time to live. He tries to tell his son who shuts him out. He tries to tell his wife, and she leaves him for another man. In the end, just before he drives his "blue Mercedes Benz" into oncoming traffic, he leaves his life insurance policy to the wife and son of the man who left with his wife. This One and That One are victims of the "accident" because one of them is driving the car that the man hits, leaving the other to tell the tragic story. The play confronts issues of relationships, both homosexual and heterosexual. These two cultures collide in the end - literally. Although it is merely by chance, it still points out the conflicted intersection of these two cultures. But more importantly, it reminds me to cherish every moment. It is through powerful lighting design that I am able to follow the complexity of the play and the various storylines that emerge.

The two characters work in three different realities and storylines - moving back and forth from one to another. One reality is the two men working on a play in front of the audience and even breaking the fourth wall at times. Another reality is the characters within the play they are working on. The final reality is the remembered thoughts of the men about their own relationship. The ability to move in and out of these realities could be confusing but are seamless to me, due largely to the light designs choices.

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As the show begins, the more than sufficient bright white house lights fade to complete blackness as a single ray of deep, blue light rises. It is focused tightly on something on the floor. My eyes slowly begin to adjust to the darkness, and I can make out a man's jacket lying on the floor. I don't know the importance of the jacket, but the light draws my attention to it. Even though I do not know what the jacket's ultimate meaning is to the characters, this light design choice accomplished its goal getting me to wonder, "what is so important about this jacket?" From this point on, I'll watch the jacket. This One and That One put it on, taking on a role of the terminal man in the play which they are writing. The jacket tells me what character they are playing. It becomes an emotional item when That One tells This One, during an argument, that the jacket is his favorite because This One told him that he looked good in it the first time they met. At the end of the show, as the sounds of the car accident disappear, the lights fade to darkness, and the single deep blue light rises as This One takes the jacket and places it back on the floor and exits. I'm left again, staring at the jacket on the floor, but it now has meaning, completing a cycle and reminding me of the small things that are so important in life. The importance of the jacket is highlighted by this light design choice. Because the designer focused only one deeply saturated light on the jacket, I am forced to pay attention to it and understand the meaning it conveys.

At the first moment the two men are both on the stage together, they are lit with lights that are shuttered and focused to create a square area of light. This square area of light is created by multiple lights shuttered at right angles, so that smaller areas can be created with the same rigid effect. The edges help provide a stage area that the two men never leave. The area is quite small in comparison to the size of the theatre. This helps me focus in and feel more intimate with the characters. I think the best way to describe the sensation would be like looking through a camera and zooming in from a panoramic view to a close-up. This square area of light is the basic look for the reality of the two men working on the play. Although this area may change in size, it is generally larger than the other realities. This reality is also lit with a somewhat warm colorless look that comes from typical theatre lighting equipment.

As the two men speak about the play they are working on, This One and That One narrate the story and then choose a role to step into. This One takes off the jacket and reveals a white shirt, becoming the doctor for a scene. That One puts on the jacket, grabs a chair, and sits as he takes the role of the terminally ill man. It is clear that the reality has changed because as they set up the scene, a smaller cool area of light is left contrasting from the larger warm area of the other reality. This is typical of the reality of the play within the play. Within this reality they always step into the roles of these characters by stepping into a smaller area of light, which tends to be cooler white/blue light in a smaller concentrated area. The lights are still shuttered at right angles so that the men, at many times, are standing or sitting only in one square shaft of light. If the first reality gave me a sense of a close-up, this reality tends to be almost invasive into the character. The small squares shafts of light also seem to isolate the characters. At one moment, a terminally ill man sits in a chair facing forward with one square shaft of light on him. On the other side of the stage sits his son in a single square shaft of light. Darkness separates the characters as the father tells his son that he is dying. This design choice allows me to see into the eyes of both characters and see them as individuals in an extreme close-up, but at the same time it creates isolation for the two characters. Eventually, the scene ends and the lights return to a larger warm square area of light, and This One and That One can interact directly with each other again.

The other reality of the two men remembering moments of their own relationship is handled in a similar manner. The major difference is that the two are seldom separated by darkness, and the area tends to be a bridge of light between the two making the shape of a thin rectangle on the floor. The two men tend to face each other as they are in this reality, and the audience seems to disappear to them just as it does in the reality of the play within the play. The color of light varies in this reality but tends to be more saturated, warm colors in comparison to the rest of the play. As the memory passes, the lights rise again to the larger, colorless square, and the men step immediately back into the present reality of working on the play.

The scenes tend to move from this present reality into the other realities seldom cutting from the play within the play to scenes of the remembered past. The lights go from a large square area to individual, small areas where the men are already standing. They never leave the light, but the light just seems to intensify where they stand and disappear in the space between them. As the scene ends, the lights rise again to the larger square until they either return to the play within the play, with its small, isolated lights, or they turn to face each other as the lights dim into a narrow bridge of light between them. The space seems to breathe as the lights expand and contract over and over again. The repetition of the light patterns in their respective realities adds to the continuity and fluidity of the performance. The performance moves in and out of these realities but the lights help to make it seamless.

Please note that this sample paper on Dada Kamera: Performance Response is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Dada Kamera: Performance Response, we are here to assist you. Your persuasive essay on Dada Kamera: Performance Response will be written from scratch, so you do not have to worry about its originality.

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