Impact of imaginative play on young children

Impact of imaginative play on young children Play is a fundamental aspect of early childhood. Through play, young children can begin to explore and understand the world around them from an early age, whilst simultaneously gaining a sense of enjoyment from what they are saying and doing. Piaget (1962), cited in Ariel (2002), identified four general developmental stages of play; these increase in complexity as the child matures. These stages are, in chronological order: functional play, constructive play, imaginative play and games with rules. Therefore, it can be argued that imaginative play, as part of a sequence, builds on the skills learnt and nurtured through constructive play, and prepares children for play situations involving rules and other constraints. Bodrova (2008), however, disagrees with this notion by arguing that rules must be an integral part of imaginative play. These rules are not determined by the children themselves, but by the constraints of the imaginary roles that they are playing. It is therefore possible that, in many cases, imaginative play overlaps into other types of play and incorporates more advanced and regulated thought processes than may be superficially apparent when observing what happens during imaginative play. What happens during imaginative play? Vygotsky (1986), cited in Bodrova (2008), emphasises that three elements need to be present for a play situation to be defined as imaginative: an imaginary situation, the playing of roles and the formulation of rules intrinsic to each assigned role. Singer (1994) echoes this sentiment by stressing the point that one or more children playing roles does not, in itself, constitute imaginative play: this is a misconception held by many people, including early years educators. The use of the word imaginary is, however, misleading to a certain extent. According to observations by Dockett (1998), the majority of make-believe situations do not take place in fantasy worlds with fairies and monsters; rather, they are situations drawn from the childs own memories and experiences. These can be, but are not restricted to, examples of what they have seen and heard at home and school. Another view of what constitutes imaginative play is held by Ariel (2002), who regards it as a kind of mental activity rather than a genre of external behaviour. More emphasis is placed on the thought processes required to create an imaginary situation than the words and actions involved during its enactment. These involve a child bringing mental images to life and identifying how they are being represented in real life, but also acknowledging that they are doing it for fun. It is the simultaneous combination of these thought processes that differentiate imaginative play from other types of play such as functional and constructive play. It can therefore be argued that the child must have reached a certain level of cognitive functionality to be able to think in such an ambivalent way about the way they are playing. However, no specific mention of the manipulation of and interaction with objects is made in either of these definitions. Although the use of objects is not a prerequisite of imaginative play, they can play a major part in the visualisation and representation of a fantasy (Tsao, 2002). Such objects could include, but are by no means limited to: toys, movable objects such as chairs and boxes, immovable objects such as tables and beds, and costumes. Smith (1995) discusses the way that, in imaginative play, objects can be transformed into other things to perpetuate the fantasy. However, no recognition is made of the way in which objects, once transformed, can assume different properties, such as size and shape, depending on both the imaginary situation and the type of imaginative play taking place. What types of imaginative play are there? Imaginative play is one of the general developmental stages of play. However, there are substages within this level that are dependent upon the childs mental development. Ariel (2002) identifies three stages: firstly, solitary play, where the child enacts everyday experiences; secondly, parallel play, where the child starts to introduce other characters to their experiences (although the child always plays the central role); and thirdly, sociodramatic play, which is much more structured and less self-centred. Each of these substages is assigned to different years of the childs life, although it must be stressed that these are approximations based on Ariels view of how well developed the average child should be at each stage. Furthermore, these stages appear to be discrete; it is not made clear how one level develops into the next, and what internal or external factors cause this development. In contrast, Dockett (1998) states that there are only two types of imaginative play: simple and complex. According to his observations, there must be six distinct elements present for it to be considered complex play: imitative role-play; make-believe with objects; make-believe with actions and situations; persistence; interaction; and verbal communication. There are no classifications made between these two extremes; from this, it can be concluded that, if one or more elements cannot be observed, then it is simple play. Another important point to consider is that, unlike Ariels stages of imaginative play, no clear timescale is given regarding the age and developmental stage of the child with relation to these two stages of imaginative play. However, the two elements of interaction and verbal communication suggest that more developmentally advanced forms of imaginative play can only take place when a child is involved with other children, rather than playing independently. Imaginative play can take place with or without objects or props (Singer, 1994). Singer argues that non-toy objects, such as chairs and cardboard boxes, are used more frequently in all types of imaginative play than objects defined as toys, such as dolls and model cars. The reason for this is that toys are often limited in the number of functions they can serve in the childs imagination due to their close link with reality. Taking the aforementioned model car as an example, it looks like a real car (but is obviously considerably smaller). It would be difficult to transform it into any other object or creation. Similarly, it is limited in its functionality; it can be pushed or pulled around on different surfaces, but it cannot effectively interact with other objects in general. Conversely, the simple cardboard box provides a range of possibilities for transformation and interaction, as illustrated by an observation by Singer (1994): upon seeing the box, a child calls another to say, I ts the best toy ever! Its a fort and a space shuttle, a bus, a pirate ship, a sled, a clubhouse, and a castle. What is not clarified, however, is the authors opinion on whether or not the use of toys is beneficial, both to imaginative play itself, and to developing young childrens skills and attributes. What skills and attributes can be developed as a result of imaginative play? During the early years of childrens lives, it is important that they develop a range of skills and attributes that will further their development both in and out of school. Broadly speaking, these skills and attributes fall into three categories: social, emotional and cognitive. According to Tsao (2002), childrens participation in imaginative play can facilitate their integration into peer groups through the elements of collaboration and interaction, which are in turn underpinned by verbal and non-verbal communication. This benefit is, however, dependent on the child being at the stage where they choose to play with others rather than independently. Ariel (2002) builds on this concept of collaboration in particular by arguing that children often transfer conflicts to the realm of imagination. This involves resolving personal differences that may arise during imaginative play without breaking character or leaving the confines of the imaginary situation. By doing this, the children are able to continue playing together without the risk of altercation in reality. It can be argued that this type of interaction can initiate the development of rudimentary diplomacy and empathy skills, even at a relatively early age. A different view is held by Bodrova (2008), who believes that such forms of social development, whilst important in their own right, cannot be realised without the prior building blocks of emotional development. She argues that self-esteem and self-confidence are the two emotions that benefit the most through imaginative play, and the best way to start this process is to play independently with objects and toys rather than with others. However, no distinct link is made between the stages of individual and shared play: it is unclear how these emotions, particularly self-confidence, can be developed without some form of initial interaction. Singer (1994), on the other hand, takes the view that the most important aspect of imaginative play is the way in which it brings both pleasure and a large degree of emotional satisfaction to the child or children participating in it. This serves to highlight the issue that, above all, imaginative play should be fun. Through this sense of enjoyment, children will benefit emotionally without being aware of it. It can therefore be argued that the childs need for emotional fulfilment can be a reason for, as well as a consequence of, imaginative play. Opinions are divided regarding the most significant benefit to childrens cognitive development through imaginative play. Smith (1995) and Tsao (2002) emphasise the strong link between imaginative play and creativity. Although it could be argued that this connection is self-evident, due to the intrinsically creative nature of imaginative play, it is nevertheless important to acknowledge its existence. Another important point to note is the fact that children can also develop creativity outside the medium of play by, for example, writing stories and drawing pictures. Imaginative play, while important in its own right, is simply one part of the whole process of developing creativity in children. Conversely, Singer (1994) and Ariel (2002), whilst accepting the potential benefits to childrens creative skills, believe that the development of academically related skills is a more significant consequence of imaginative play. These include, but are by no means limited to, the enhancement of vocabulary by practising new words (Singer, 1994) and the advancement of basic decision-making skills (Ariel, 2002). In imaginative play, children need to identify what objects are (especially if they have been transformed to suit the imaginary situation), what different places and characters are called, and so on. These words will be used repeatedly throughout the play episode; therefore, it is not only good practice for children to say and hear them, but it also facilitates effective verbal communication and keeps the imaginary situation going. In addition, situations frequently arise where children, whilst playing a role, need to make choices regarding, for example, how to react to something someone else has said or done, what object to use, or where to go next. As before, this decision-making process, which is often quick and well improvised, according to observations by Ariel (2002), is another essential way to keep the imaginary situation going. These skills, along with many others, can be beneficial to the childrens holistic development, not only in an imaginative play situation, but also in other areas of their lives. Are these skills and attributes transferable to other areas of the childrens lives? The skills and attributes developed in imaginative play can also be beneficial both to the development of the childs state of mind and their behaviour, particularly with regard to what is required of them as they advance through the education system. Singer (1994) holds the belief that children can sustain themselves in periods of stress with the hope generated from such imagined explorations. This stress could be caused by any of a number of contributory factors, such as an increased academic workload or an unsettled home life. However, imaginative play allows children to detach themselves from reality, albeit on a temporary basis. According to research by Ariel (2002), this time out can have a calming effect on the child, by pacifying them and providing them with ways out of their emotional entanglements. What is unclear, however, is how long this calming effect continues. The question remains of whether the use of imaginative play for this purpose of emotional detachment is a long -term solution to stress-related issues, or merely a short-term fix. Revisiting an earlier theme, Bodrova (2008) states that rules, determined by the roles played by the children, are an integral part of imaginative play. She extends this point by arguing that this following of rules can contribute to a childs readiness for formal schooling, where they will have to abide by sets of class and school rules. During their participation in imaginative play, the child has to promote their intentional behaviours and follow the directions of others so that the imaginary situation can progress. According to research by Blair (2002), cited in Bodrova (2008), the practice of this self-regulation of behaviour by playing by the rules in imaginative play often transfers itself to non-play contexts where predetermined sets of rules exist, such as formal classroom settings. The child will be more inclined to follow these new sets of rules, and their behaviour will improve as a consequence. One other important behavioural aspect, particularly with regard to younger children, is paying attention and the ability to concentrate. Generally speaking, younger children have a much shorter attention span than older children (Dockett, 1998). It is important for children to be attentive and focused when they are faced with formalised situations later on in their schooling, such as assemblies and tests. According to research by Smith (1995), participation in imaginative play focuses childrens minds on the situation in hand, and they become totally immersed in the roles they are playing. One observation by Smith (1995) was of a group of children playing castles. One child was allocated the task of sentry duty: this involved keeping watch from the top of the castle while some other children played soldiers going about their daily business inside the castle. The sentrys role was to warn the soldiers if the enemy (played by three other children) was approaching. The child playing the sentry role considered his task to be highly important, and was able to maintain a high level of concentration throughout, pretending to look in all directions and scanning the imaginary horizon. Smith (1995) argues that these higher concentration and attention levels in imaginative play will permeate into non-play contexts. However, it can be argued that this will not necessarily happen in the case of all children, because acting in an imaginary role is one matter; behaving in real-life situations is another matter entirely. Much depends on the character and personality of the child, and the behaviour expected of the child by the adults in their life. What roles can early years practitioners, parents and other adults take in imaginative play? Imaginative play can happen in any setting, both in childrens school and home lives. According to the evidence gathered so far, the same opinion is shared: it is important for adults to play some sort of role in childrens imaginative play. However, opinion is divided on the issue in two key respects: the level and timing of intervention, and the purpose of intervention. With regard to the level and timing of intervention, Singer (1994) believes that parents and practitioners should initiate imaginative play and then step back and allow the children to play on their own. In effect, the adults give the children an initial idea, and the imaginative play stems from this stimulus. This is not necessary in all cases, however, as many children will formulate their own ideas independently. Conversely, Bodrova (2008) takes the view that all children, regardless of the development of their play skills, require higher levels of adult mediation if they are to benefit from imaginative play in any social, emotional or cognitive way. As a reasonable proportion of imaginary situations are drawn from the childs past personal experiences (Dockett, 1998), one possible way to address this issue is to take an active approach by introducing the children to new experiences (Bodrova, 2008). These can include field trips to suitable locations, and child-friendly books and v ideos that relate to suitable, interesting topics. This will give children a greater knowledge base from which to draw their imaginary situations and characters, thus increasing the variety of their imaginative play. With regard to the purpose of intervention, children can be advised, if necessary, on how to construct imaginary situations and enact imaginary roles. This often takes the form of the modelling of play skills (Ariel, 2002; Tsao, 2002), such as co-operation and the invention of characters. This is particularly important if the child has shown themselves to be less advanced in these areas. This is not necessary in all cases; sometimes, childrens play skills may have developed independently and instinctively. In contrast, Smith (1995) believes that the most important reason for adult involvement in imaginative play is to facilitate the achievement of particular educational and instructional goals. He argues that imaginative play has a better chance of nurturing key life skills if the adults in the childrens lives encourage it and participate in it whenever possible. One active way for adults to participate in this developmental process is to take the child out for walks in order to teac h them about the world around them, highlighting points of interest along the way, and answering any questions the child may have about what they can see, hear and so on. This will assist in the development of key life skills such as confidence and the awareness of ones surroundings. In addition, this helps to expand the childs knowledge base through questions and simple explanations. All of these qualities will be important in the childs home and school life in the future. Further research questions In what kinds of ways can objects in imaginative play contexts assume different properties? At what age or stage of development do children engage in simple and complex play? Is it preferable to use toys and other objects in imaginative play? If so, why? If not, why not? How effective is the participation in imaginative play as a long-term solution to stress-related issues? Do any theorists believe that imaginative play should have minimal or no adult mediation or involvement? If so, who and why?

Genji Monogatari or The Tale of Genji Essay

Unit 3: Analysis of Fiction This Unit Activity will help you meet these educational goals: 21st Century Skills—You will use critical-thinking and problem-solving skills, employ online tools for research and analysis and communicate effectively. Introduction Literature has long been a major source of information and entertainment. Learning to analyze literary work systematically can significantly add to your enjoyment and appreciation of literature. The aim of literary analysis is to extract information about a work of literature from the text itself. Literary analysis essentially involves a detailed examination of the text to answer predefined types of questions, including what the author intended to say or why and to what effect he or she used a certain literary device. Such an analysis helps not only to identify narrative elements such as theme, plot, and setting in a fictional work but also to reveal the author’s purpose and viewpoint and the cultural and social factors influencing the author. __________________________________________________________________________ Directions and Analysis Task 1: Analyze Literary Elements in Genji Monogatari Genji Monogatari, or The Tale of Genji, is a Japanese novel written in the early eleventh century that tells the story of Genji, the son of a Japanese emperor. Genji is considered to be one of the first psychological novels. Read the first four chapters of part I of Genji Monogatari (â€Å"The Paulownia Court,† â€Å"The Broom Tree,† â€Å"The Shell of the Locust,† and â€Å"Evening Faces†), which has been translated into English by Edward Siedensticker. Another version of this same translation can be paged through online. You can also find a paper copy of the book in your school library or a bookstore. After reading the translation, analyze and describe the theme of the novel as revealed in the first four chapters. Type your response here: The Theme of this story is Genji spends much of his time writing poems to women he is attracted to, but who have little interest in him; most of them know that nothing positive would come of an affair with him, and so resist the impulse as much as possible, although they often had similar feelings toward Genji. His numerous affairs often involved women from outside the court, behavior which was scandalous for a person of his position, so his affairs are usually conducted in complete secrecy, which he took considerable trouble to maintain. Each affair is significantly different in character from the others, though; a factor which keeps this pattern from becoming repetitive and boring. For instance, at one point he lusts after a princess after hearing her play beautiful music on the zither; he quickly declares his love for her in a flurry of letters, which she never answers. However, the more he finds out about her, the less he likes her, but he cannot help feeling guilty after his ardent pursuit, and he maintains the relationship long after his feelings have waned. In one of his last affairs, he is on the receiving side of the attentions of an elderly lady; he has to think of creative ways of dodging the situation, without a loss of face for either party. The last section, after Genji’s death starts out like an uncertain epilogue, but it soon takes on a life of its own, and the failings of the environment portrayed there only heighten the allure of that of Genji himself. The problems that seemed so double-edged when they were Genji’s pale beside the blunders and the folly of his descendants, and only make him look better in retrospect. This can lead to nostalgia for his sphere, and against it the troubles of the inhabitants of the later chapters seem both fated and pitiable. Some contemporary readers feel that the author may have used his series of  affairs simply as a device, to allow her to present a range of youthful love’s folly, in a series of devastating portraits, ranging from tragic obsession to utter, hilarious disaster. Some feel that the ‘Tale of Genji’ is not so much about Genji as it is about the women he interacts with in his life – their feelings, their experiences, their fates. Much as they have large roles, though, it is to Genji that the narrative returns time and again. A major ambition of many members of the aristocracy in the world of Heian court was to present a daughter to the Emperor, or his Heir Apparent; the supreme goal of a non-imperial noble was to be the grandfather (via his daughter) of an Emperor. As a result, the Emperor usually had a range of recognized relationships with women, not so much as a result of sexual acquisitiveness, but because he was virtually required to make his prestige relatively widely accessible. These ladies did not all have equal rank; those on the lowest rungs had a birth rank which was too low, and they also lacked the necessary political support. 1. In the table below, list the characters in the first four chapters, identify their types, and describe their traits. Type your response in the table: Character Type Character from Genji Character Trait(s) protagonist Prince Genji The eponymous hero of the tale, he is the son of an emperor (usually referred to as Kiritsubo Emperor) and of a low-ranking imperial concubine (known to readers as Lady Kiritsubo or Kiritsubo KÃ… i). antagonist Emperor Kiritsubo Genji’s father, who despite the large social gap between him and the Kiritsubo Lady, maintains an unwavering devotion to her, tragically exposing  her to the jealousy of his other consorts. minor character Lady Kiritsubo Genji’s mother and the favorite of Emperor Kiritsubo, Lady Kiritsubo is disadvantaged at court because she lacks parental support. Her father, a Grand Counselor, is already dead at the beginning of the narrative, and her mother cannot provide her with political support. s tatic character Lady Murasaki She is the daughter of Prince HyÃ… bu by a minor consort and related to Fujitsubo on her father’s side (HyÃ… bu is Fujitsubo’s brother, hence Murasaki is Fujitsubo’s niece). dynamic character ShÃ… nagon She is Murasaki’s nurse and most important protector after the grandmother. 2. Analyze the development of the plot in the first four chapters. Note the major events in the first four chapters in the order in which they occur. Type your response here: Part One: Genji is born as the second son for the Emperor, the son of a beloved concubine of the Emperor, known as the Lady Kiritsubo, whose father is dead, and who depends on the Emperor for all her status. However, Genji’s birth raises the ire of the mother of the first son, a lady of much higher rank. Genji’s mother dies soon afterwards, and as the Emperor likes Genji, he is raised within the Court, becoming a very accomplished as well as good-looking young man. The Emperor would like to do more for Genji, but he cannot because of the power of the first son’s mother. His father worries about his son’s future, since he has no powerful family behind him, so he makes him a commoner, and part of a non-royal family, giving him the last name â€Å"Minamoto†. (This is the origin of Genji’s ‘name’: ‘gen’ is an alternate reading of the character for his given last name, and ‘ji’ means ‘name’; so â€Å"Genji† roughly means â€Å"bearer of the Minamoto name†. It is not his actual name, though.) This allows him to serve as a government official;  in writing terms, this device also allows him to belong to both realms, and thereby gives him an increased scope as a character. As a young man, Genji is forced into a marriage of convenience with the daughter of a powerful court figure, but he is never really happy with her, although they do eventually have a son, Yugiri. Instead, he falls in love with one of the Emperor’s concubines, Fujitsubo; she strongly resembles his own dead mother (which is why the Emperor, who adored Kiritsubo, brought her to court). He has his first illicit affair with her; she becomes pregnant as a result, and gives birth to a boy. The child’s true parentage is kept secret, and he is by the Emperor as his own son, eventually ascending to the throne himself. Although feeling guilt because of this affair, Genji goes on to have numerous other affairs with a large number of other court ladies. One of them is the Lady Murasaki, who is Fujitsubo’s niece; she had been placed in his care when she was a girl, and he raised her to be his ideal lady. Genji’s wife eventually dies, and he then marries Murasaki. Finally, the exposure of Genji’s adultery with a concubine of the new Emperor (who had succeeded Genji’s father), a lady of another court faction (which includes the mother of the new Emperor, the old Emperor’s first son) results in his being exiled for a period. Although the Emperor is not much put out, he is forced by propriety to send him away; since he is in disgrace, Genji must leave Murasaki behind. After a short period in exile in Suma and Akashi, Genji returns to the capital, where his son with Fujitsubo has now become Emperor. As a result, since the new Emperor knows Genji is his real father, Genji rises high in status and position, being appointed to a high official rank. He uses his power and wealth to bring benefits to the women he has loved, including bringing them to live in a palace, a magnificent complex of four interconnected mansions, one for each of the four seasons, and each housing one of his ladies. His focus becomes advancing the careers of his children and grand-children, and when he manages to get his daughter, the Akashi Princess (who was the outcome of an affair with a wealthy merchant’s daughter in Akashi) presented at court, he has reached the zenith of his power and influence. Part Two: The previous Emperor, now retired and planning on entering a monastery, had placed his daughter in Genji’s care; Genji, moved by the fact that this girl, like Lady Murasaki, is also a niece of his first love, Fujitsubo, agrees to marry her too. However, the girl is very immature, casting him back on his love for Lady Murasaki. However, now that Genji has an ‘official’ wife, and one of high breeding, that forces Lady Murasaki into seclusion. Genji cannot afford to slight his ‘official’ wife, the daughter of a retired Emperor, but when Murasaki becomes ill, he abandons the daughter for a lengthy period to look after Murasaki. While he is doing so, however, Genji’s nephew, one of the suitors who had been vying for the young wife’s hand before she married Genji, and has not given up his desire for her, eventually manages an affair with her; she becomes pregnant, and bears a son, Kaoru. Distraught at Genji’s anger, the boy’s mot her retires to a nunnery, and Genji in turn is forced to accept another man’s son as his heir; this causes him to repent for many of his own similar past actions. Meanwhile, Lady Murasaki, Genji’s real love and principal wife of more than twenty years (in reality, if not legally), who had long asked Genji’s permission to become a nun, and who is still ill, dies before getting the chance. Utterly devastated by this sequence of events, Genji begins preparations to take the vows himself, leaving the capital to enter a small mountain temple. Part Three: The Tale of Genji continues, although without Genji, who is assumed to have died in seclusion. In his place are Kaoru (his wife’s son with her lover), and Genji’s grandson Niou, the son of his daughter, the Akashi Princess (who is now Empress). These two carry on the Genji tradition of complex affairs of the heart. Kaoru considers entering the monastic life because he is  unable to come to terms with the world of his time. He begins visiting one of the princes, who likewise disappointed with court life, has gone into reclusion in Uji; Kaoru finds him a kindred spirit. While there, he finally hears the secret of his own birth, and he also meets the Prince’s daughter, Oigimi, to whom he is strongly attracted. After the death of the Prince, Kaoru proposes marriage to Oigimi, but she suppresses her own feelings for him, and instead encourages him to marry her younger sister, Nakanokimi. Kaoru, for his part, urges Niou to marry Naka-no-kimi, and Niou succeeds in seducing Naka-no-kimi. Kaoru tries to get Oigimi to agree to the marriage of Niou and Naka-no-kimi; however, the sisters come to feel that both men are trifling with them, and Oigimi decides to starve herself to death before she can reconsider her rejection of Kaoru. After her death, Niou is forced by intense political and parental pressure to take as his main wife a daughter of Genji’s son Yugiri. Kaoru now transfers his attentions to Naka-no-kimi, who reminds him of the dead Oigimi; she is tormented by his persistent wooing. She tries to interest him in Ukifune, her half-sister by a different mother, who also looks like Oigimi. When Kaoru sees her, he falls in love with her – but so does Niou, when he comes to visit. Kaoru succeeds in having an affair with her, but so does Niou. Kaoru would be the more important catch, but she is much more strongly drawn to Niou. Ukifune sees no solution to this tangle other than to drown herself in the river. On the verge of doing so, and suffering from amnesia from the stress, she is saved by a senior religious figure; she then goes to Ono in his company, and becomes a nun there when her memory partially returns. When Kaoru discovers where she is, she refuses to meet him; the story abruptly ends there. Part three: Genji’s curiosity is aroused by whoever might be in the house of yugao, so he sends Koremitsu to investigate, who reports back that To-no-Chujo had been  there and that a lady evidently resided within. Genji cannot resist, so he disguises himself and arranges a secret meeting through her maid, Ukon. Yugao is a very frail, submissive beauty, and Genji is reminded of To-no-Chujo’s rainy night story. Unlike To-no-Chujo, however, Genji is attracted by this gentility, and resolves to take her away. Unable to resist, and very frightened, Yugao is rushed off with Ukon to a deserted mansion. That night, Genji dreams of a jealous lady resembling Lady Rokujo, and when he wakes he sees an apparition by Yugao’s pillow. He tries to wake her, but she is no longer breathing. Genji panics, wakes Ukon and Koremitsu, but it is too late, she is dead. Koremitsu sends Genji back to his palace at Nijo and takes her body to a nunnery in the eastern hills for funeral rites. At Nijo, Genji is unsettled by recent events and cannot appear at court. He sets out on horseback with Koremitsu to see Yugao’s body, but on the return journey he feels ill and falls off his horse. The illness lasts for quite some time, and when he recovers he confirms with Ukon that Yugao was in fact To-no-Chujo’s mistress. Genji retains Ukon and asks her to find Yugao’s daughter, intending to raise her himself. The chapter end with a final poetic exchange with Utsusemi, whom Genji also loses. Task 2: Analyze Part I of Genji Monogatari Now read the remaining chapters of Part I. After you have finished, quote at least five examples of the use of imagery and symbolism in Part I. Type your response here: 1. Genji was suffering from malaria. He took four or five attendants along to visit a sage in the northern hills. He was a most accomplished worker of cures. 2. Then a pretty girl of perhaps ten ran in and complained to the nun in a weeping voice that Inuki had let her baby sparrows loose. That was the first time Genji saw the Murasaki-no-Ue. 3. The bishop gave farewell presents: a rosary of carved ebony which Prince Shotoku had obtained in Korea, still in the original Chinese box, wrapped and attached to a branch of cinquefoil pine; and several medical bottles of indigo decorated with  spray of cherry and wisteria. 4. It was still dark when Genji made his departure, going his word that he would come back. There was a heavy mist and the ground was white. Passing the house of a woman he had been seeing in secret, he had someone knock on the gate. There was no answer, and so he had someone else from his retinue, a man of very good voice, chant a poem of his. Though there was a poem g iven in response, no one came out. 5. Before Prince Hyobu, the father of the girl, came, Genji took the girl away to his Nijo residence in the middle of night. Genji worked hard to make them feel at home. He wrote down poems and drew pictures for her to copy. Task 3: Analyze Part II of Genji Monogatari Read Part II of Genji Monogatari. After you have finished, answer the following questions. a. Analyze the development of the plot in Part II. Note the major events in the order in which they occur. Type your response here: The ceremony of the initiation of the Third Princess took place at the end of the year. A large array of splendid gifts came from the Suzaku emperor and others. From Akikonomu came some combs, which had been sent by the Suzaku emperor when she married. The Day of the Rat fell on the twenty-third of the First Month. On that day, people celebrated the Genji’s fortieth birthday. Tamakazura came with some new herbs that promised long life. She had brought her two sons. Her young and beautiful face reminded Genji of his old age and his lost days. Towards the middle of the Second Month, the Third Princess came to Rokujo to marry Genji. Genji could not refuse the request of Suzaku who had been looking for someone to support for his daughter. There was also another reason that Genji was induced to marry her. For the Third Princess was a niece of Fujitsubo. In the Tenth Month, Murasaki made offerings in Genji’s honor. Choosing a temple in Saga, she commissioned a reading of the sutras for the protection of the realm. Ending the fast, a banquet was arranged at the Nijo residence and attended by many people in festive dress. The musicians took their places. Yugiri and Kashiwagi went  out and danced under a tree of plum rouge. As it had become true, he would like to withdraw from the world and go off into the deep mountains. The old nun’s grief was limitless. As she was the wife of Genji, it was forbidden love. Kashiwagi called the cat and took it up in his arms. Mewing prettily, it brought the image of the Third Princess back to him. a. Describe the events around Murasaki’s death? Type your response here: When Emperor IchijÃ…  died in 1011, ShÃ… shi retired from the Imperial Palace to live in a Fujiwara mansion in Biwa, most likely accompanied by Murasaki, who is recorded as being there with ShÃ… shi in 1013. George Aston explains that when Murasaki retired from court she was again associated with Ishiyama-dera: â€Å"To this beautiful spot, it is said, Murasaki no Shikibu retired from court life to devote the remainder of her days to literature and religion. There are sceptics, however, Motoà ¶ri being one, who refuse to believe this story, pointing out †¦ that it is irreconcilable with known facts. Murasaki may have died in 1014. Her father made a hasty return to Kyoto from his post at Echigo Province that year, possibly because of her death. Shirane mentions that 1014 is generally accepted as the date of Murasaki Shikibu’s death and 973 as the date of her birth, making her 41 when she died. Bowring considers 1014 to be speculative, and believes she may have lived with ShÃ… shi until as late as 1025. Waley agrees given that Murasaki may have attended ceremonies with ShÃ… shi held for her son, Emperor Go-IchijÃ…  around 1025. Murasaki’s brother Nubonori died in around 1011, which, combined with the death of his daughter, may have prompted her father to resign his post and take vows at Miidera temple where he died in 1029. Murasaki’s daughter entered court service in 1025 as a wet nurse to the future Emperor Go-Reizei (1025–68). She went on to become a well-known poet as Daini no Sanmi b. Why does Genji agree to marry the daughter of the Suzaku emperor? Why does their marriage fail? Type your response here: Genji’s marriage to the Third Princess, the favorite daughter of his elder brother Suzaku, emphasized Genji’s reasons for accepting this marriage and the ways in which it affected the relationship between him and Murasaki. However, it also prepared the ground for a further treatment of the relationship between Genji and Suzaku himself. Kokiden once planned to marry her much younger sister Oborozukiyo to her son, then still heir apparent. Before she could do so, however, Genji made love to the young woman himself (â€Å"Hana no En†), striking up with her a passionate, lasting affair. Suzaku knows that the two remain in touch even after his accession, and because he loves Oborozukiyo, the difference between possessing her person and her heart torments him. The opening passage of â€Å"Miotsukushi† makes these feelings clear. Genji has returned from exile and is about to sweep Suzaku aside, together with everyone who ever supported him. c. Name and describe three key characters who appear in this part of the novel (or whose roles have advanced in this part). What role do they play? What evidence from the text can you provide that they are round characters, and thus have an important role? How do they interact with and challenge or support the protagonist? Use this table to capture your answers. Type your response in the table: Key Character Role and Traits Interaction with Genji Textual Evidence Lady Fujitsubo first as a stepmother but later as a woman they fall in love with each other. Basically love at first sight They have a son together that is kept secret while she is married to the Emperor Kiritsubo now the little boy is crown she became Empress but Genji n her kept it secret Aoi no Ue His first wife and the daughter of the Minister of Left. She marries Genji when she is sixteen and he only twelve They have a son together name YÃ… «giri but dies after He engages in a series of unfulfilling love affairs with other women, but in most cases his advances are rebuffed, his lover dies suddenly during the affair, or he becomes bored of his lover. Murasaki She is the second wife and daughter of a provincial governor who probably belonged to a minor branch of the mighty Fujiwara clan. She served as a lady-in-waiting to the Empress Shoshi (a daughter of the powerful Fujiwara Michinaga), and was a literary contemporary and rival of Sei ShÃ… nagon she is a niece of the Lady Fujitsubo but marries after Aoi death he kidnaps her, brings her to his own palace and educates her to be his ideal lady — that is, like the Lady Fujitsubo.But he was expose about all his love affairs.Then she later die. Task 5: Analyze Part III of Genji Monogatari Now that you have read Parts I and II, complete the novel by reading Part III of Genji Monogatari. After you have finished, answer the following questions. In this part, the legacy of Genji continues. Genji, who has died in seclusion, is succeeded by Kaoru and his grandson Niou. Does the setting change in this part? If yes, how? What impact has the change had on the action and characters in the novel? Type your response here: Yes the setting has change because his son Kaoru and grandson Niou didn’t want to accept the Lord Inspector offer to marry his daughter but niou liked the step daughter of lord inspector. Kaoru is a retired emperor. They were into frangance and music. Genji had love affairs to all the women from father wives to brother wives to other wives. I guess hearing the expose of his love affairs Kaoru n Niou didn’t agree so they went on their own path. Task 6: Analyze the Setting Genji Monogatari has a foreign, historical setting. It is important to understand the culture and society in which a story is set to fully appreciate it. Use these resources to learn more about the era and the prevalent culture of that time: women in the pre-Heian era women in The Tale of Genji customs and court traditions during the Heian era Analyze the setting within the context of the era and culture in which the story is set. List important details that shed light on the setting of the story. Explain what each reference above reveals about the society or culture in which the story is based. Type your response here: Your introduction should state the focus of your essay, as well as the theme of the work. Think of the introduction as a roadmap that the essay will follow. The conclusions that are made along the way must be supported by thoughtful analysis and textual evidence from the piece. Use your notes and responses to the questions in the other tasks as raw material to stich together in this essay. Submit your essay as a separate document along with this activity. Evaluation Your teacher will use these rubrics to evaluate the completeness of your work as well as the clarity of thinking you exhibit. Task 1: Analyze Literary Elements in Genji Monogatari Concepts Distinguished (4 points) Accurately describes the theme of the story and the sequence of events Explains in detail how the narrative mode is appropriate to the story Lists multiple characters, including the protagonist, and describes their character traits in detail Proficient (3 points) Describes the theme of the story and the sequence of events Explains how the narrative mode is appropriate to the story Lists many characters, including the protagonist, and describes their character traits adequately Developing (2 points) Roughly describes the theme of the story and the sequence of events Roughly explains how the narrative mode is appropriate to the story Lists some characters, including the protagonist, and mentions their character traits Beginning (1 point) Attempts to describe the theme of the story and the sequence of events Attempts to explain how the narrative mode is appropriate to the story Lists very few characters and does not correctly describe the character traits of some characters Task 2: Analyze Part I of Genji Monogatari Concepts Distinguished (4 points) Thoroughly analyzes the use of imagery and symbolism in the story Deeply explores the significance of symbols used Provides abundant evidence to support analysis Proficient (3 points) Adequately analyzes the use of imagery and symbolism in the story Adequately  explores the significance of symbols used Provides sufficient evidence to support analysis Developing (2 points) Briefly analyzes the use of imagery and symbolism in the story Attempts to explore the significance of symbols used Provides some evidence to support analysis Beginning (1 point) Does not analyze the use of imagery and symbolism in the story adequately Struggles to explore the significance of symbols used Fails to provides evidence to support analysis Task 3: Analyze Part II of Genji Monogatari Concepts Distinguished (4 points) Accurately analyzes the major events and development of the plot T horoughly answers questions specific to characters Lists many key characters Thoroughly describes the role of key characters in the plot by providing relevant textual evidence Proficient (3 points) Correctly analyzes the major events and development of the plot Adequately answers questions specific to characters Lists some key characters Adequately describes the role of key characters in the plot by providing somewhat relevant textual evidence Developing (2 points) Roughly analyzes the major events and development of the plot Struggles to  answer questions specific to characters Mentions at least one key character Struggles to describe the role of key characters in the plot Beginning (1 point) Vaguely analyzes the major events and development of the plot Does not answer questions specific to characters adequately Does not list key characters Does not describe the role of key characters in the plot adequately Task 4: Analyze Part III of Genji Monogatari Concepts Distinguished (4 points) Accurately analyzes the change in setting Thoroughly describes the plot outline of the story Thoroughly explains how the development of plot retains or diminishes reader interest Lists many key actions of the primary character Thoroughly describes the apparent motives of the primary character Provides relevant and insightful passages to support the analysis of the character’s motives Proficient (3 points) Correctly analyzes the change in setting Adequately describes the plot outline of the story Adequately explains how the development of plot retains or diminishes reader interest Lists some key actions of the primary character Adequately describes the apparent motives of the primary character Provides relevant passages to support the analysis of the character’s motives Developing (2 points) Roughly analyzes the change in setting Struggles to describe the plot outline of the story Struggles to explain how the development of plot retains or diminishes reader interest Lists a few key actions of the primary character Struggles to describe the apparent motives of the primary character Provides somewhat relevant passages to support the analysis of the character’s motives Beginning (1 point) Vaguely analyzes the change in setting Does not describe the plot outline of the story adequately Does not explain how the development of plot retains or diminishes reader interest adequately Lists no key actions of the primary character Does not describe the apparent motives of the primary character adequately Does not provide relevant passages to support the analysis of the character’s motives Task 5: Analyze the Setting Concepts Distinguished (4 points) Correctly identifies and lists multiple references to the time period and thoroughly explains their implications Accurately analyzes the setting of the story Lists multiple details that provide insight into the setting Thoroughly explains what each reference reveals about the society or culture in which the story is based Proficient (3 points) Correctly identifies and lists many references to the time period and adequately explains their implications Correctly analyzes the setting of the story Lists many details that provide insight into the setting Adequately explains what each reference reveals about the society or culture in which the story is based Developing (2 points) Correctly identifies and lists some references to the time period and  explains some of their implications Roughly analyzes the setting of the story Lists some details that provide insight into the setting Struggles to explain what each reference reveals about the society or culture in which the story is based Beginning (1 point) Correctly identifies and lists very few references to the time period and does not explain their implications adequately Vaguely analyzes the setting of the story Lists few details that provide insight into the setting Does not explain what each reference reveals about the society or culture in which the story is based Task 6: Literary Analysis Essay on Genji Monogatari Concepts Distinguished (4 points) The introduction accurately states the focus of the essay and the theme of the work. The essay thoroughly covers most literary elements and analyzes the cumulative effect of the literary elements used and the connections between them. The essay thoroughly analyzes the author’s development of the overall theme. The conclusions are thoroughly supported by thoughtful analysis and textual evidence. The essay does not contain any grammatical, spelling, and punctuation errors. Proficient (3 points) The introduction correctly states the focus of the essay and the theme of the work. The essay adequately covers most literary elements and analyzes the cumulative effect of the literary elements used and the connections between them. The essay adequately analyzes the author’s development of the overall theme. The conclusions are adequately supported by thoughtful analysis and textual evidence. The essay contains few grammatical, spelling, and punctuation errors. Developing (2 points) The introduction roughly states the focus of the essay and the theme of the work. The essay acceptably covers some literary elements, but struggles to analyze the cumulative effect of the literary elements used and the connections between them. The essay struggles to analyze the author’s development of the overall theme. The conclusions are weakly supported by analysis and textual evidence. The essay contains noticeable grammatical, spelling, and punctuation errors. Beginning (1 point) The introduction vaguely states the focus of the essay and the theme of the work. The essay does not cover literary elements adequately or analyze their connections well. The essay does not analyze the author’s development of the overall theme adequately. The conclusions are not supported adequately. The essay contains numerous grammatical, spelling, and punctuation errors.

Busang – a River of Gold

Challenges for Bre-X Minerals in Indonesia Bre-X Minerals Ltd. faced numerous challenges in 1996, largest among them being the potential loss of the majority stake in property that could yield upwards of 100 million ounces of gold. The Indonesian government was threatening to redistribute ownership of Busang, the mining region in which Bre-X had property rights, due to its fear that Bre-X was a short-term player not serious about extracting the gold or a long term commitment in Indonesia. These fears were justified given Bre-X’s small size (it had a net loss of $Cdn. 66,677 in 1995 compared to a net income of $Cdn. 218 million from Barrick Gold Corp. , a potential government-corporate partner) and limited connections within the country (established only in 1993 by exploring in the East Kalimantan rainforest). Another critical challenge faced by Bre-X was the public outcry over a foreign firm taking advantage of Indonesia’s wealth of natural resources. This mineral explo itation resulted in cries for public action to seize the land and deny Bre-X any compensation. Prominent public figures Dr. Amin Rais and Mr. Hartojo Wignjowinoto were most vocal in these demands. This is a classic example of the risk an unprepared company takes on when operating in a country that is transitioning both politically and economically. Over the first half of 1996, analysts predicted increasing success at Busang and as a result, Bre-X’s stock value rose. Indonesia, however, is a mixed economy where the government uses public action to manipulate and influence the private sector with ease. Bre-X’s failure to collaborate with an influential local company from the beginning of its venture led it to the current crisis. The company’s developmental and operational stagnation resulted in increased pressure from the world’s largest mining firms, Barrick included, and the Indonesian government. The Sudjana Proposal: Bre-X Minerals & Barrick Gold Due to the corruption and public action of the Indonesian government and the potential for continued bureaucratic challenges to extracting the gold, Bre-X should accept Minister Sudjana’s proposal to partner with Barrick. The Indonesian government has shown, through its interactions with Bre-X, that it is easily influenced by the demands of President Suharto’s family and by pressures from respected individuals. For example, the Barrick proposal received endorsement from the government only after Barrick hired Suharto’s daughter (Tutut) and encouragement from former U. S. President George Bush and former Canadian Prime Minister Brian Mulroney. Despite making an alliance with PT Panutan Duta in late October, Bre-X was late in recognizing the importance of relationship building in conducting business in Indonesia. With only eight days to negotiate the deal with Barrick, Bre-X does not have time to develop the necessary connections to succeed in Indonesia without a competent partner. Strong property rights are an essential component in any successful market economy. Although Indonesia has regulations regarding mineral exploration and extraction, the government has found ways to manipulate the regulations to best serve its interests. Making it through the various stages of mining approval requires complex paperwork and numerous negotiations with various government offices. Bre-X had navigated this system and received a Contract of Work (CoW) to mine the Southeast Zone. However, after Kuntoro Mangkusubroto declined to revoke Bre-X’s CoW, Sudjana had transferred the processing of CoWs out of Mangkusubroto’s office. This move suggested that Sudjana could manipulate the regulatory structure to revoke Bre-X’s CoW and make it much more difficult for the company to continue exploration or begin mining. Rejecting the Barrick deal proposed by Sudjana would expose Bre-X to future challenges that may prevent them from ever capitalizing on its Busang II claim. However in accepting the Barrick deal, Bre-X stands to lose a large portion of their claim to the future profits from Busang. Bre-X has made large investments to purchase and explore the properties in Borneo and needs to make sufficient earnings to recoup its costs and satisfy its investors. Therefore, Bre-X should use the eight days that they have to reach an agreement with Barrick in which they receive a greater than 22. 5% stake in Busang. Beyond Barrick: Other Roads to Busang One alternative Bre-X could pursue is a different joint venture with either Placer Dome or Tech Corps, which would align Bre-X with a large enough company to develop and operate in Busang. At the same time, Bre-X needs to cultivate their existing relationship with Suharto’s son to give the company an inside track in navigating the corrupt regime. This alternative is attractive for all parties involved because it increases investor confidence and Bre-X’s stake in Busang, allows Placer Dome or Tech Corps to get involved in the project, and increases the government’s claim through Suharto’s inner circle. Another alternative for Bre-X would be a total buy-out by Barrick. This option would result in a substantial capital inflow for the company to pursue its core business model; exploration and partnership. Throughout the company’s history, Walsh has constantly had to seek out investment from a number of sources to successfully operate his business due to its small size. The operations thus far in Busang have been reminiscent of the Australian speculators in the 1980s, and the Indonesian people are again faced with a situation where estimates of total gold reserves are skyrocketing, while little infrastructure development or mining activity has taken place. The national sentiment towards Bre-X and its inability to carry out mining operations on its own, makes a buy-out proposal an attractive alternative whereby Bre-X can pursue new exploration in a friendlier environment.

John Rawls A Theory Of Justice Essay - 1339 Words

John Rawls is a world renowned, American political philosopher of the twentieth century. His views on the state of nature, society, and politics were much more distinct from previous philosophers, and his more modern or progressive life experiences can contribute to the separation between him and others, such as Aristotle, Hobbes, or Rousseau. However, he does have certain ideas and point of views that correlate with the views of those that Immanuel Kant expresses, and more specifically Rawls was greatly influenced by Immanuel Kant by his conclusions in moral philosophy and autonomous law. Rawls takes both from historical knowledge and modern experiences to shape his ideas, and he articulates them through one of his most influential books, A Theory of Justice. Through this book he describes the structure or origin of the social-contract tradition in a different view by arguing on behalf of political society through a more liberalism tradition. For example, one of his most distinct vi ews is the role of an original position in the social contract The original position is a model of impartiality is based from the ‘veil of ignorance†, the principle of rational within individuals, and the idea that individuals choose from self-interest, and as such the individuals who derive the social contract will obtain the most just, equal, and fair society in all political, social and economic aspects of society. Although Rawls has various strong objections on his views to the originalShow MoreRelatedA Theory of Justice by John Rawls771 Words   |  3 PagesOriginal Position â€Æ' John Rawls discusses the original position in his book A Theory of Justice. â€Å"The Original Position and Justification† is a chapter where Rawls persuades his readers into taking the original position seriously. The original position is a position where people are equal and are rational in order to make principles that they live by fair. 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