Ptlls 008 Roles, Responsibilities Essay Example for Free

Ptlls 008 Roles, Responsibilities Essay Important to define the terms prior to listing the entities which may impact on my work: Legislative requirement: A duty to act according to the law as defined in an Act of Parliament and usually enforceable through the courts. Code of Practice: A set of rules outlining how a person in a particular profession or situation is expected to behave. Statutory Code of Practice: A Code of Practice approved by Parliament and admissible as evidence in any legal action. The Children Act (2004) – Every Child Matters underpinned the Change For Children agenda. The Act came into being following the death of Victoria Climbie. The Act is applicable to children and vulnerable adults up to the age of 25. Focused on five specific outcomes for children: Be healthy Stay Safe Enjoy and Achieve Make a positive contribution Achieve economic well-being Protection of Children Act (1991) – gave local authorities to investigates cases of child abuse. Safeguarding Vulnerable Groups Act (2006) – introduced a vetting and barring service for those working with children and vulnerable adults. Disclosure and Barring Service (DBS) checks (previously CRB checks). Code of Professional Practice (2008) – introduced by the Lifelong Learning Sector. The code is based on 7 behaviours expected of teachers. Copyright Designs and Patents Act (1988) – relates to copying and adapting materials. The Data Protection (1998) – relates to information held on people by others. Education and Skills Act (2008) – aimed at increasing participation in learning. The Equality Act (2010) brought all the areas of discrimination: race, sex, disability, race into one Act. The 2010 Act identifies 9 areas of discrimination. Freedom Of Information Act (2000) – individuals can ask to see the information held on them Health and Safety At Work (1974) – imposes obligations on all to operate within a safe and healthy environment Human Rights Act (1998) – basic rights for all The Further Education Teacher’s Qualifications (England) Regulations (2007) – professional status for teachers in FE and a qualification route GRAVELLS, A. (2012) Preparing To Teach In The Lifelong Learning Sector 1. 2 Analyse own responsibilities for promoting equality and valuing diversity The definition of equality is to treat everybody equally, especially in terms of status, rights and opportunities. The 2010 Equality Act brought together a number of different pieces of legislation which means it is unlawful to discriminate against people on the grounds of pay, sex, race and disability. Diversity means being aware that every person is unique, not only because of their visible differences such as race, age or disability, but also non visible differences, religion, social background, economic status or political beliefs. Inclusion is about being objective and looking beyond first impressions. It’s about diversity and breaking down barriers, changing lives and promoting equality. Within my role it’s important for me to base my practice around the concepts of equality, diversity and inclusion and keep an open mind. Without an open mind I may not support all people equally to recognise their potential and achieve their aspirations. Discrimination could then be argued to have occurred as students would not have been treated equally.

Shakespeares Hamlet †Ophelia Discussed Essays -- GCSE English Litera

Hamlet – Ophelia Discussed Courtney Lehmann and Lisa S. Starks in "Making Mother Matter: Repression, Revision, and the Stakes of 'Reading Psychoanalysis Into’ Kenneth Branagh's Hamlet" make a statement regarding the effect of Ophelia’s words, even though she was considered mad at the time: Hamlet's own disgust toward the body and sexual behaviour, coupled with Ophelia's erotically-charged songs, did not suddenly become "about" sexuality after Freud. On the contrary, censorship of the play in performance during various historical time periods indicates that the tragedy has always been perceived of as highly erotic, and often dangerously so. Even in the context of twentieth-century interpretations of Hamlet, critics have been reluctant to engage in genuine confrontations with the problem of the play's sexuality and its underlying anxiety. For this reason, Jacqueline Rose has claimed that critics writing on Hamlet, beginning with T. S. Eliot, have conflated their puzzlement over the play with the Western notion of "woman" as the bearer of an impenetrable secret. (2) Shakespeare’s tragedy, Hamlet, presents almost a dozen male characters for every one female character. The only prominent female characters are two: Ophelia, Laertes’ sister and Polonius’ daughter; and Gertrude, the queen and wife of Claudius and mother of Hamlet. This essay will explore the character, role, and importance of Ophelia. The protagonist of the tragedy, Prince Hamlet, initially appears in the play dressed in solemn black, mourning the death of his father supposedly by snakebite while he was away at Wittenberg as a student. Hamlet laments the hasty remarriage of his mother to his father’s brother, an incestuous act; thus in his first soliloqu... ...akes of 'Reading Psychoanalysis Into' Kenneth Branagh's Hamlet." Early Modern Literary Studies 6.1 (May, 2000): 2.1-24   http://purl.oclc.org/emls/06-1/lehmhaml.htm Pennington, Michael. â€Å"Ophelia: Madness Her Only Safe Haven.† Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. From Hamlet: A User’s Guide. New York: Limelight Editions, 1996. Pitt, Angela. â€Å"Women in Shakespeare’s Tragedies.† Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Rpt. from Shakespeare’s Women. N.p.: n.p., 1981. Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html Wilkie, Brian and James Hurt. â€Å"Shakespeare.† Literature of the Western World. Ed. Brian Wilkie and James Hurt. New York: Macmillan Publishing Co., 1992.

Michelangelo

Michelangelo was a man of many trades who, throughout his life, created, painted, and designed artistic masterpieces. He was a marvel of his time.. â€Å"He was celebrated as the greatest artist ever because of his great work in the areas of sculpting, painting, drafter, architecture, and poetry†. A genius with his ingenuity and thought process in the way he came up with the ideas that have now become modern masterpieces and wonders to us. Hard work and education to his true passion led to his success and fame in cities all around. He is a man who truly lived life to the fullest.He worked every day of his life and finally rested on his deathbed. Michelangelo was born on March 6, 1475 (Summers 483). His full name is Michelangelo did Ladylove Bonaparte Simmons (â€Å"Michelangelo'). He was born in a small village of Cappers in Valerie (Arizona 4). His father was Leonardo did Burrito Simons (â€Å"Michelangelo'). His mother's name was Francesca did Amanita De Sera (Arizona 4). He had four other brothers (â€Å"Michelangelo'). Due to his mother's illness he was placed with a family of stone cutters. She died giving birth to the fifth child in 1481 (Arizona 4).It might have been his grammar school friend, Francesco, six years his senior, who introduced Michelangelo to the painter Director Giordano (â€Å"Michelangelo'). His father agreed to apprentice him at age thirteen. There he was exposed to the technique of fresco. Before his apprenticeship had completed, he stopped painting and took on sculptures (Summers 483). At the recommendation of Giordano, he moved into the palace of a great paint named, Florentine ruler Lorenz â€Å"the Magnificent† De Medici was influenced by Napoleonic thought.This was a fertile time for Michelangelo. His time with the Medici family was 1489 to 1492 (â€Å"Michelangelo'). After the Medici family lost power he began to travel. During his younger years he began to study anatomy (Summers 483). He studied under sculptor Bordello did Giovanni. He obtained permission from the church to study cadavers. These combined influences led to his distinctive style: muscular precision and reality combined with an almost lyrical beauty (â€Å"Michelangelo'). His earliest surviving sculpture is a small unfinished relief of a battle, done when he was sixteen.It shows the obvious influence of ancient Roman marble sculpture belonging to Lorenz Summers 483). He lived in Rome from 1496 to 1501. As a student in Rome he was called â€Å"Universal Genius† (â€Å"Michelangelo'). His drawing career lasted over seventy years, and he was able to change his style to fit the period of time (Michelangelo'). Michelangelo was able to do as many as three projects at a time. He was a great sculpture early in life, and then he learned how to draw and paint. Like most artists of his time he painted religious scenes.He was a Catholic and most of his drawings and painting resemble his beliefs in his artwork (â€Å"Michelang elo'). His first marked success was a life size statue of the Roman wine god Bacchus held in Rome. At age twenty-three, he carved a version of the traditional Pieta (â€Å"Michelangelo'). From 1508 through 1 512, Michelangelo time was occupied by The Sistine Chapel Ceiling. Michelangelo largest and most famous paint was that on the ceiling of the Sistine Chapel (Castle, pig. L). The Pope died in 1513, and then Michelangelo signed a contract with Julius to build a tomb, but it had to be finished within seven years.However, Michelangelo attention was not on the tomb exclusively. After Leo Ax's election Michelangelo was hired to refurbish the facade on the Papal Chapel in Castle Gentleman's, Rome. Between 1514 and 1521 he signed several contracts to sculpture and paint art. Another contract was signed with Julius to build a smaller Julian Monument, and it was drawn up in 1516. Many people think that Sultan's Tomb was not Michelangelo best work, but this only the media's idea about his work. Michelangelo was also a great painter. He produced a few easel paintings.His ambition was truly seen in his paintings (â€Å"Michelangelo'). Michelangelo was painting sutures early in the 16th century. During that time he was making some cartoons, but very few were published. â€Å"One of his cartoons, Battle of Casino, was highly influential, but the cartoon somehow disappeared†. The Sistine Ceiling is one of Michelangelo greatest paintings. It is probably his most well known piece of art. The Pope asked Michelangelo to redo the ceiling because the Pope thought that the gold background with blue stars were not powerful enough to be in the Sistine Chapel.Michelangelo had many drawings to pick from, but he decided to go with the helve Apostles design. Some of Michelangelo late work was also really good, such as The Last Judgment. Gigolo Dad Fabian didn't like Michelangelo, so he tried to destroy his reputation by saying that Michelangelo painting was no good, but accor ding to most, it was one of Michelangelo greatest paintings. He also painted the â€Å"Last Judgment† over the altar in the chapel. The â€Å"Last Judgment† took 6 years for him to finish, from 1535 and 1541 Michelangelo was also able to draw with the best of them.Most people use their drawing ability to get an education, but Michelangelo used raring as a way to express his feelings. Many of Michelangelo drawings became collector items during the sass's; many people didn't accept the drawings. Michelangelo gave his drawings as gifts during special holidays. During the 20th century many people started to accept his drawings. Michelangelo was also an architect. One great piece he did was for the Medici Family. It was a miniature model for Leo Ax's Chapel at Castle Sandstone's, Rome. It looked like Julius tomb, but it didn't have that much sculpturing work. The miniature model for Leo Ax's Chapel at Castle Sandstone's, Rome took him a long time to complete, because there were so many details which need to be perfectly placed†. Michelangelo was able to do so many things at once which influenced many people, and those people didn't realize how great Michelangelo art was until his death. Many people think Michelangelo was sent by God to paint, draw, and sculpture. Michelangelo became a very powerful person during his lifetime. He was great friends with most of the kings and queens in most of the countries (â€Å"Michelangelo').Michelangelo didn't leave any teaching notes or any of his followers. Michelangelo is one of the most talented artists ever, and he was one of the creators of the Roman High Renaissance with Leonardo dad Vinci. Michelangelo drawings, paintings, sculpturing, and architecture work is still very popular in today's society. Michelangelo will still be the most influential artist leading into the 21st century. Michelangelo was also a magnificent architect. In 1560, he designed a dome to cover a massive opening, on the Sistine Ch apel. They began to construct the dome that he had designed in 1560 (The Panorama, IPPP).

Cuzco, Peru Political Heart of the Inca Empire

Cuzco, Peru (  was the political and religious capital of the vast empire of the Incas of South America. Over five hundred years after the city was taken over by the Spanish conquistadors, Cuzcos Incan architecture is still gloriously intact and visible to visitors. Cuzco is located at the confluence of two rivers at the northern end of a large and agriculturally rich valley, high in the Andes Mountains of Peru at an elevation of 3,395 meters (11,100 feet) above sea level. It was the center of the Inca Empire and the dynastic seat of all 13 Incan rulers. Cuzco is the most common spelling of the ancient city (various English and Spanish sources can use Cusco,  Cozco, Qusqu, or Qosqo), but all of those are Spanish transliterations of what the Incan inhabitants called their city in their Quechua language.   Cuzcos Role in the Empire Cuzco represented the geographical and spiritual center of the Inca empire. At its heart was the Coricancha, an elaborate temple complex built with the finest stone masonry and covered in gold. This elaborate complex served as the crossroads for the entire length and breadth of the Inca empire, its geographic location the focal point for the four quarters, as Inca leaders referred to their empire, as well as a shrine and symbol for the major imperial religion. Cuzco holds many other shrines and temples (called huacas in Quechua), each of which had its own special meaning. The buildings you can see today include the astronomical observatory of Qenko and the mighty fortress of Sacsaywaman. In fact, the entire city was considered sacred, composed of huacas which as a group defined and described the lives of the people who lived in the vast Incan empire. Founding of Cuzco According to legend, Cuzco was founded about 1200 CE by Manco Capac, the founder of the Inca civilization. Unlike many ancient capitals, at its founding, Cuzco was primarily a governmental and religious capital, with few residential structures. By 1400, much of the southern Andes had been consolidated under Cuzco. With a residential population then around 20,000, Cuzco presided over several other large villages with populations of several additional thousands scattered throughout the region. The ninth Incan emperor Pachacuti Inca Yupanqui (r. 1438–1471) transformed Cuzco, recasting it in stone as the imperial capital. By the second half of the 15th century, Cuzco was the epitome of the empire known as Tawantinsuyu, the land of four quarters. Radiating outward from Cuzcos central plazas was the Inca Road, a system of constructed royal conduits dotted with way stations (tambos) and storage facilities (qolqa) that reached the entire empire. The ceque system was a similar network of hypothetical ley lines, a set of pilgrimage routes radiating out from Cuzco to connect hundreds of shrines out in the provinces. Cuzco remained the Inca capital city until it was conquered by the Spanish in 1532. By that time, Cuzco had become the largest city in South America, with an estimated population of 100,000 people. Incan Masonry The marvelous stonework still visible in the modern city today was primarily built when Pachacuti gained the throne. Pachacutis stonemasons and their successors are credited with inventing the Inca style of masonry, for which Cuzco is justly famous. That stonework relies on the careful shaping of large stone blocks to fit snugly into one another without the use of mortar, and with a precision that comes within fractions of millimeters. The largest pack animals in Peru at the time of Cuzcos construction were llama and alpacas, which are delicately constructed camels rather than heavily built oxen. The stone for the constructions in Cuzco and elsewhere in the Inca empire were quarried, dragged to their locations up and down mountainsides, and painstakingly shaped, all by hand. The stonemason technology was eventually spread to many different outposts of the empire, including Machu Picchu. The finest example is arguably a block carved with twelve edges to fit into the wall of the Inca Roca palace in Cuzco. The Inca masonry held up against several devastating earthquakes, including one in 1550 and another in 1950. The 1950 earthquake destroyed much of the Spanish colonial architecture built up in Cuzco but left the Inca architecture intact. The Coricancha The most important archaeological structure in Cuzco is probably the one called the Coricancha (or Qorikancha), also called Golden Enclosure or the Temple of the Sun. According to legend, the Coricancha was built by the first Inca emperor Manco Capac, but certainly, it was expanded in 1438 by Pachacuti. The Spanish called it Templo del Sol, as they were peeling the gold off its walls to be sent back to Spain. In the sixteenth century, the Spanish built a church and convent on its massive foundations. Colors of the Inca The stone blocks to make the palaces, shrines and temples in and around Cuzco were cut from several different quarries around the Andes mountains. Those quarries contained volcanic and sedimentary deposits of various stone types with distinctive colors and textures. The structures in and near Cuzco included stone from multiple quarries; some have predominant colorations. Coricancha—the heart of Cuzco has a rich blue-gray andesite foundation from the Rumiqolqa quarry and walls which were once covered with a gleaming gold sheathing (looted by the Spanish)  Sacsayhuaman (The Fortress)—the largest megalithic structure in Peru was built primarily of limestone but has distinctive blue-green stones laid into the palace/temple floorsInca Rocas Palace (Hatunrumiyoc)—in downtown Cuzco, this palace is famous for the 12-sided stone and was made of green dioriteMachu Picchu—combined granite and white limestone and it is white and shiningOllantaytambo—this palace outside of Cuzco proper was built with rose-colored rhyolite from the Kachiqhata quarry We dont know what the particular colors meant to the Inca people: archaeologist Dennis Ogburn who has specialized in Inca quarries has been unable to find specific historical references. But the string collections known as quipus which acted as a written language for the Inca are also color-coded, so it is not impossible that there was a significant meaning intended. Pachacutis Puma City According to the 16th-century Spanish historian Pedro Sarmiento Gamboa, Pachacuti laid out his city in the form of a puma, what Sarmiento called the pumallactan, puma city in the Inca language Quechua. Most of the pumas body is made up by the Great Plaza, defined by the two rivers which converge to the southeast to form the tail. The heart of the puma was the Coricancha; the head and mouth were represented by the great fortress Sacsayhuaman. According to historian Catherine Covey, the pumallactan represents a mytho-historical spatial metaphor for Cuzco, which beginning in the 21st century has been used to redefine and explain the citys urban form and heritage theme. Spanish Cuzco After the Spanish conquistador, Francisco Pizarro assumed control of Cuzco in 1534, the city was dismantled, intentionally desacralized through Christian re-ordering of the city. In early 1537, the Inca conducted a siege of the city, attacking the main plaza, setting fire to its buildings, and effectively ending the Inca capital. That allowed the Spanish to build on Cuzcos imperial ashes, architecturally and socially. The governmental center of Spanish Peru was the newly constructed city of Lima, but to the 16th century Europeans, Cuzco became known as the Rome of the Andes. If imperial Cuzco was inhabited by Tawantisuyus elite, colonial Cuzco became an idealized representation of the utopian Inca past. And in 1821, with Peruvian independence, Cuzco became the pre-hispanic roots of the new nation. Earthquake and Rebirth Archaeological discoveries such as Machu Picchu in the first half of the 20th century piqued international interest in the Inca. In 1950, a cataclysmic earthquake struck the city, catapulting the city into the global spotlight. Major portions of the colonial and modern infrastructure collapsed, yet much of the Inca grid and foundations survive, exhibiting only minor effects of the earthquake. Because the majority of the Inca walls and doorways had survived intact, the citys old roots were now far more visible than they had been since the Spanish conquest. Since recovering from the effects of the earthquake, city and federal leaders have championed a rebirth of Cuzco as a cultural and heritage center. Historical Records of Cuzco At the time of the conquest in the 16th century, the Inca had no written language as we recognize it today: instead, they recorded information in knotted strings called quipu. Scholars have made recent inroads to cracking the quipu code, but are nowhere near complete translations. What we have for historical records of the rise and fall of Cuzco are dated after the Spanish conquest, some written by the conquistadors such as the Jesuit priest Bernabe Cobo, some by descendants of the Inca elite such as Inca Garcilaso de la Vega. Garcilaso de la Vega, born in Cuzco to a Spanish conquistador and an Inca princess, wrote The Royal Commentaries of the Incas and General History of Peru between 1539 and 1560, based in part on his childhood recollections. Two other important sources include the Spanish historian Pedro Sarmiento de Gamboa, who wrote The History of the Incas in 1572, and Pedro Sancho, Pizarros secretary, who described the juridical act that created Spanish Cuzco in 1534. Sources Andrien, Kenneth J. The Invention of Colonial Andean Worlds. Latin American Research Review 46.1 (2011): 217–25. Print.Bauer, Brian S., and R. Alan Covey. Processes of State Formation in the Inca Heartland (Cuzco, Peru). American Anthropologist 104.3 (2002): 846-64. Print.Chepstow-Lusty, Alex J. Agro-Pastoralism and Social Change in the Cuzco Heartland of Peru: A Brief History Using Environmental Proxies. Antiquity 85.328 (2011): 570–82. Print.Christie, Jessica Joyce. Inka Roads, Lines, and Rock Shrines: A Discussion of the Contexts of Trail Markers. Journal of Anthropological Research 64.1 (2008): 41–66. Print.Covey, Catherine. From Tawantinsuyu to the Pumallactan: Cusco, Peru, and the Many Lives of Pachacuti’s City. University of California at Berkeley, 2017. Print.Herring, Adam   Shimmering Foundation: The Twelve-Angled Stone of Inca Cusco. Critical Inquiry 37.1 (2010): 60–105. Print.Ogburn, Dennis E. Variation in Inca Building Stone Quarry Ope rations in Peru and Ecuador. Mining and Quarrying in the Ancient Andes. Eds. Tripcevich, Nicholas and Kevin J. Vaughn. Interdisciplinary Contributions to Archaeology: Springer New York, 2013. 45–64. Print.Ortiz, A., E. C. Torres Pino, and E. Orellana Gonzà ¡lez. First Evidence of Pre-Hispanic Dentistry in South America—Insights from Cusco, Peru. HOMO - Journal of Comparative Human Biology 67.2 (2016): 100–09. Print.Pigeon, Ginger. Inca Architecture : The Function of a Building in Relation to Its Form. University of Wisconsin La Crosse, 2011. Print.Protzen, Jean-Pierre, and Stella Nair. Who Taught the Inca Stonemasons Their Skills? A Comparison of Tiahuanaco and Inca Cut-Stone Masonry. Journal of the Society of Architectural Historians 56.2 (1997): 146–67. Print.Rice, Mark. Good Neighbors and Lost Cities: Tourism, the Good Neighbor Policy, and the Transformation of Machu Picchu. Radical History Review 2017.129 (2017): 51–73. Print.Sandoval, Josà © R., et al. Genetic Ancestry of Families of Putative Inka Descent. Molecular Genetics and Genomics (2018). Print.