RT: #abril 2015

Education — «Feedback on learning» — Formative assessment [Video]

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Feedback on learning </font></a> - Photo: <a alt="Feedback on learning" href="http://www.benjaminmadeira.com/search/label/education" style="text-decoration: none;" target="_blank" title="Feedback on learning"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/aUjPm9] Watch this clip in which Dylan Wiliam reviews the importance of giving learners effective feedback as an integral component of formative assessment_______________________. </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/aUjPm9 The importance of giving learners effective feedback as an integral component of formative assessment | #Education #Pedagogy #Feedback #ESL </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  Dylan Wiliam - Transcript </span></div></H2> <br /><br />

<div class="JBMCode"> The feedback was why we started really, because a lot of the research on formative assessment was about different kinds of feedback... and what we found was that most of the feedback that’s come in schools is the least helpful in terms of what psychologists have found. There’s lots of different ways of looking at feedback, but a very important way of looking at feedback is whether its ego involving or task involving.</div> <br /> <br />

<div class="citajbm"> So if you say to students that they did very well that they did one of the best pieces of work in the class, that's ego involving because it focuses on that person’s position in the class. Whereas, if you get feedback that’s says things like, well this is what you need to do to improve... then that focuses on the task. And what the research shows very clearly is that ego involving feedback is rarely effective and, in fact, can lower achievement. So when students get grades and they can compare themselves with each other, where they get praise...the effects are usually or often zero and, sometimes, negative. In other words, in many cases rather than giving that kind of praise you would have been better off shutting up and giving no feedback at all! Students given that kind of praise do less well than students given no feedback at all. </div> <br /> <br />

<div class="citajbm"> But what the research also shows very clearly is the conditions under which feedback is successful. The research shows, for example, that when the feedback focuses on what students need to do to improve, and, in particular, how to go about it... then you get very large impacts on student achievement. So the challenge for teachers is to take these very broad principals that I’ve outlined and work out what it means to their own classroom. </div> <br /> <br />

<div class="citajbm"> The way I summarise all of this is to say that I think that good feedback causes thinking. The really important thing is that when a student gets a piece of feedback, the first thing they do is think, not react emotionally, not disengage but think. That’s very important because what the research on student motivation shows is that when they’re faced with a task or a response to a piece of work, students, basically, make a choice between deciding either to protect their wellbeing or to engage in activities that will actually help them grow as individuals and in their achievement. And if the first reaction of a student is to protect themselves and to restore their sense of well-being, what you will find is that students will focus on the things that will do that for them and they won’t focus on the learning. </div> <br /> <br />

<div class="citajbm"> So what we need to do is to give students feedback that helps them move forward. Give them feedback that makes it clear that ability is incremental rather than fixed, because if we send the message to students that ability is fixed then if you are confident that you can engage in the task you will go for it, for the brownie points. But if you’re not confident or think that you might actually fail when other people will succeed, you will disengage and basically, you will decide that you would rather be thought lazy than stupid. </div> <br /> <br />

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<CENTER> <strong><span style="font-size:16px; color: #FFFF00; background-color: #F52887;"> <a class="explicacion">Video: Feedback on learning, intended for nonprofit, educational use / study purposes only. <span> Videoclip for study purposes only </span> </a> </span> </strong> </CENTER>
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Education — «Feedback on learning» — Formative assessment [Video]

Feedback on learning - Photo: illustration — [http://goo.gl/aUjPm9] Watch this clip in which Dylan Wiliam reviews the im...

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Radio - NRK — P1 — Live - Online - NettPlayer (Norge/Norway)

<div class="citajbm"> • ✔ <b> <a href="#radio" style="text-decoration: none;"><font color="#301ce2">NRK P1 - Godt selskap — Norge, Online</font></a> - <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> nrk_radio_p1_mp3 - NettPlayer </font></a> </b> </div><br />

<center><font color="#301CE2"><strong>nrk-mms-Live.Online.no | <a href="https://plus.google.com/111394417792438554096/about" rel="author" target="_blank"> — Madeirinha — </a> 
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<span>NRK P1, Radio - Bilde: NRKs arkiv</span> </div> </div> <br />

<H3> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Hør NRK radio direkte ⇒ NRK P1. NRK P1 er en av NRKs radiokanaler. NRK P1 var NRKs eneste riksradiokanal helt fram til 1. september 1984, da NRK P2 startet sendinger som en underholdnings- og avlastningskanal.</span> </div> </H3> <br />

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<center><strong><span style="font-size:20px; color: #0B610B;"><a name="mp3"> <span itemprop="name">Radio NRK P1, Norge [Norway] (Noruega) ::</a></span></span></strong></CENTER><br />
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<div style="text-align: center"> <strong><span style="font-size:15px; color: rgb(180, 95, 6)"> Her er lenker til NRK P1 Nettradio i MP3-format. Den kan særlig være nyttig hvis du har problemer med å bruke den ordinære NRK Nettradio.<br />

<ul><li>Høyreklikk en lenke og velg «kopier lenke/adresse» før du limer den inn i medieavspilleren du foretrekker.</li>
<li>MP3 finnes i disse tre kvalitetene: 32 kb/s (lav), 96 kb/s (middels) og 192 kb/s (høy).</li>
<li>Lenkene er for direktelytting.</li>
<li>Har du flere spørsmål, <a alt="NRK hjelper deg" href="http://www.nrk.no/hjelp/" style="text-decoration: none;" target="_blank" title="NRK hjelper deg"><font color="#00FFFF">spør NRK-folka </font> </a></li> </ul> </strong> </span> </div>

<div style="text-align: center"> <strong><span style="font-size:13px; color: #00FFFF;">
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<li> <a alt="Hør NRK Radio P1 mp3-format - høy" href="http://lyd.nrk.no/nrk_radio_p1_ostlandssendingen_mp3_h" style="text-decoration: none;" target="_blank" title="Hør NRK Radio P1 mp3-format - høy"><font color="#301ce2">NRK Radio P1 mp3-format 32 kb/s (høy)</font> </a> </li>

<li> <a alt="Hør NRK Radio P1 på nettbrett eller mobil" href="https://play.google.com/store/apps/details?id=no.nrk.mobil.radio" style="text-decoration: none;" target="_blank" title="Hør NRK Radio P1 på nettbrett eller mobil"><font color="#301ce2">NRK Radio P1, Android, App, via Google Play </font> </a> </li> </ul> </strong> </span> </div> <br />

<div style="text-align: center"> 
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   <li><a alt="Hør NRK Radio P1 Buskerud på nettbrett eller mobil" href="http://lyd.nrk.no/nrk_radio_p1_buskerud_mp3_h" rel="nofolow" style="text-decoration: none;" target="_blank" title="Hør NRK Radio P1 Buskerud på nettbrett eller mobil"><font color="#301ce2">NRK P1 Buskerud</font></a></li>
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                        <li><a alt="Hør NRK Radio P1 Møre og Romsdal på nettbrett eller mobil" href="http://lyd.nrk.no/nrk_radio_p1_more_romsdal_mp3_h" rel="nofolow" style="text-decoration: none;" target="_blank" title="Hør NRK Radio P1 Møre og Romsdal på nettbrett eller mobil"><font color="#301ce2">NRK P1 Møre og Romsdal</font></a></li>
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<div style="text-align: center"><span style="color: #301ce2"><span style="font-size: 14pt; line-height:15pt"> <a alt="BenjaminMadeira - Videos, mp4, Youtube, mp3, Twitter, Online" href="http://www.benjaminmadeira.com/feeds/posts/default/-/in-norwegian?max-results=100" style="text-decoration: none;" target="_blank"><font color="#301ce2"> RT: #Radio #NRK #P1 ✔ « NRK » — #Radios #Norway #Norge #Musikk #Nyheter #Kultur #Samfunn #Språk </font></a> #NettPlayer </span></span></div><br/>

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Radio - NRK — P1 — Live - Online - NettPlayer (Norge/Norway)

• ✔ NRK P1 - Godt selskap — Norge, Online - nrk_radio_p1_mp3 - NettPlayer nrk-mms-Live.Online.no | — Madeirinha — Benjamin Made...

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Futbol‎ — «El Futbol A Sol y Sombras» — Eduardo Galeano [PDF, Videos]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/04/futbol-eduardo-galeano.html"> <img alt="El Futbol A Sol y Sombras de Eduardo Galeano - Official Website - BenjaminMadeira" border="0" height="227" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6kYHorg0oCwDSZd1RP_aI_HWZ4DkszjUj7siEyTQy8YWg-6PJ2P-QGsipP6HwKbxMEg219FAlMMD6hZgMEG7IK7weO693hsYx5eRVNdjqc8X7Aq40hlp_99LnvfSNx1q9hpAW40Z1THn/s280/futbol-sol-sombras-galeano-BenjaminMadeira-com.jpg" title="El Futbol A Sol y Sombras de Eduardo Galeano - Official Website - BenjaminMadeira" width="280" /> </a><br />
<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> El Futbol A Sol y Sombras de Eduardo Galeano </font></a> - Foto: <a alt="El Futbol A Sol y Sombras de Eduardo Galeano" href="http://www.benjaminmadeira.com/search/label/futbol" style="text-decoration: none;" target="_blank" title="El Futbol A Sol y Sombras de Eduardo Galeano"><font color="#FF4000"> ilustración </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/2eIwlx] "El gol es el orgasmo del fútbol. Como el orgasmo, el gol es cada vez menos frecuente en la vida moderna",_______________________<a alt="El Futbol A Sol y Sombras de Eduardo Galeano, PDF" href="https://docs.google.com/document/d/1mCoIo18YTnr9z51FeeSbkUUn_wVZJ34_bQCflxAF_pk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="El Futbol A Sol y Sombras de Eduardo Galeano, PDF"><font color="#FF4000">Eduardo Galeano</font></a>.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/2eIwlx El Futbol A Sol y Sombras de Eduardo Galeano | #Literatura #Futbol #Uruguay #<a alt="El Futbol a Sol y Sombras de Eduardo Galeano" href="http://www.bsolot.info/wp-content/uploads/2011/02/Galeano_Eduardo-El_futbol_a_sol_y_sombra.pdf?origin=http://www.benjaminmadeira.com/2015/09/eduarno-galeano.html" style="text-decoration: none;" target="_blank" title="El Futbol a Sol y Sombras de Eduardo Galeano"><font color="#FF4000">EduardoGaleano</font></a> #LiteraturaUruguay</div> <br /><br />

<div class="JBMCode"> La historia del fútbol es un triste viaje del placer al deber. A medida que el deporte se ha hecho industria, ha ido desterrando la belleza que nace de la alegría de jugar porque sí. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">El Futbol A Sol y Sombras de Eduardo Galeano, PDF, en español latino (uruguayo) ::</span></div></H2> 
<CENTER> <a alt="El Futbol A Sol y Sombras de Eduardo Galeano, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12NWJvYWtFTURscTQ/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/futbol-eduardo-galeano.html" target="_blank" title="El Futbol A Sol y Sombras de Eduardo Galeano, PDF"><img alt="El Futbol A Sol y Sombras de Eduardo Galeano, PDF - Official Website - BenjaminMadeira" border="0" height="280" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutlf6feBFedZORQpdwcy8JP-VYSsbvwbipt7-zGGe2Ogy2IdWPl5LBPvtARCCDUXgxz8tY-ipdjoFxm0YXPBM83RmCrkXXFEAShpdLR9gVXEH3Weo147jhiRJ966cwfnqnWYxWoLZ-Z6c/s280/pdf-BenjaminMadeira-com.gif" title="El Futbol A Sol y Sombras de Eduardo Galeano, PDF - Official Website - BenjaminMadeira" width="280" /> </a> </CENTER> <br />

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Futbol‎ — «El Futbol A Sol y Sombras» — Eduardo Galeano [PDF, Videos]

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Tutorial‎ — «Facebook» — Manual de usuario [PDF, Videos]

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Tutorial - Manual de Facebook </font></a> - Foto: <a alt="Tutorial - Manual de Facebook" href="http://www.benjaminmadeira.com/search/label/facebook" style="text-decoration: none;" target="_blank" title="Tutorial - Manual de Facebook"><font color="#FF4000"> Facebook/ilustración </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/JZtQ6T] Crear una cuenta, agregar amigos, editar perfil, configuarción de la privacidad, publicaciones en el perfil, páginas y grupos,_______________________Facebook.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/JZtQ6T Tutorial de Facebook - Manual de usuario. Configuración. Principales funcionalidades | #RedesSociales #Facebook #tecnologia #fb</div> <br /><br />

<div class="JBMCode"> Facebook es una de las redes sociales más importantes del mundo y una de las herramientas de comunicación más populares, como el correo electrónico o el chat. Permite compartir información, subir fotos, videos, así como interactuar con la información subida por otros a través de comentarios, compartiendo la misma, etc. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">Tutorial - Manual de usuario de Facebook, PDF, en español latino (venezolano) ::</span></div></H2> 
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Tutorial‎ — «Facebook» — Manual de usuario [PDF, Videos]

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Tutorial‎ — «Manual de Facebook» — Sitio Web de Redes Sociales [PDF, Videos]

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Tutorial - Manual de Facebook </font></a> - Foto: <a alt="Tutorial - Manual de Facebook" href="http://www.benjaminmadeira.com/search/label/facebook" style="text-decoration: none;" target="_blank" title="Tutorial - Manual de Facebook"><font color="#FF4000"> Facebook/ilustración </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/jB4bEN] Puntos clave para preservar tu confidencialidad,_______________________Facebook.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/jB4bEN Tutorial - Manual de Facebook | #RedesSociales #Facebook #tecnologia #fb</div> <br /><br />

<div class="JBMCode"> Manual de Facebook (I): Primeros pasos. Manual de Facebook (II): Participar y comentar. Manual de Facebook (III): Privacidad. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">Tutorial - Manual de Facebook, PDF, en Castellano ::</span></div></H2> 
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Tutorial‎ — «Manual de Facebook» — Sitio Web de Redes Sociales [PDF, Videos]

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Essay — «Crevecoeur's Letter III» — What is then an American? (PDF, Videos)

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Crèvecoeur's Letter III: What is then an American? </font></a> - Photo: <a alt="Crevecoeur Letter III — What is then an American?" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Crevecoeur Letter III — What is then an American?"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/IWpKeK] A new beginning in his life, encapsulated in a caterpillar; it stuffs itself with new ideas and digest itself, breaking the old tradition_______________________. </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/IWpKeK <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur Letter III — What is then an American?</font></a> | #Crevecoeur #WhatIsAnAmerican #Culture #Immigration #MonolithicIntegration #MeltingPot #Assimilation #Acculturation #PluralistIntegration #multiculturalism #MultithreadedTapestry #StudyNotes #UniversityStudies </div> <br /><br />

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<ul> <strong><span style="font-size:15px;">
  • <a href="#mp3" onclick="jwplayer('mp3').load({file: 'https://archive.org/download/American-Crevecoeur/What_is_an_american_Crevecoeur_BenjaminMadeira-com.mp3'}); jwplayer('mp3').play();"> [Audio] (mp3 file) What is an American? Hector St. John Crevecoeur, MP3 - 5min</a> <br />   </span> </strong> </ul> </div> 
<br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  INTRODUCTION </span></div></H2> <br /><br />

<div class="JBMCode"> By changing his name to the Americanized <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">James Hector St. John, French Crèvecoeur</font></a> was now ready, by means of naturalistic descriptions, to argue for the new race of men. Crèvecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III (1782). His essay, in form of letter, is very rich in metaphorical significance throughout its content. In his epistle, James, the American farmer, delineates various perspectives of being an American. According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity, “the broad lap of our great [nourishing mother]" (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54).  <br /><br />

By asserting that the uniqueness of the American rested on the only fact that they were derived from the finest of a few selected European countries, Crevecoeur’s argument is incompatible with democratic principles. Crevecoeur was a proponent of what years later became known as “the melting pot” metaphor, "[h]ere individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis mine), this is, the monolithic integration model equated with cultural assimilation and acculturation rather than the pluralist integration model, also known as multiculturalism or the multithreaded tapestry of immigrants in the United States (Crevecoeur 56). In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). In this aspect, it is clear that the monolithic integration advanced by Crevecoeur in explaining the American immigration was incompatible with democracy principle; his approach on assimilation is 1) intolerant, 2) unjust and 3) discriminatory.</div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Antidemocratic </span></div></H2> <br /><br />

<div class="citajbm"> The monolithic integration model as advanced by Crevecoeur is oppressive and incompatible with democracy; this amalgamation model views the inhabitants of America neither as natives nor as descendants from other parts of the world. This new hybrid social and cultural forms, product of the melted Western immigrant cultures exclude non-European immigrants. The fictional narrator of the text, James, the American farmer captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55). Hence, according to the monolithic integration model, which "has strongly shaped perceptions of the United States" (Castillo 48), the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8).  <br /> <br />

Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56).  This argument is anti-democratic by enforcing restrictions on legal immigrants. This oppresses immigrants’ democracy and freedom of choice on what to love as well as inclination on their origins. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Discriminatory </span></div></H2> <br /><br />

<div class="citajbm"> There is a level of false illusion on the part of James while describing the American man’s origins and outcast. This false illusion is perhaps guided by Crevecoeur denial of diversity which he blindly champions. James exemplified a typical immigrant who leaves Europe to come to America. Upon getting off the boat, the man is immediately hired and incorporated in to the American family, "[f]rom nothing to start into being; from a servant to the rank of a master; from being the slave of some despotic prince, to become a free man, invested with lands to which every municipal blessing is annexed! What a change indeed! It is in consequence of that change that he becomes an American" (Crevecoeur 83). James’s theory, which "has most directly constructed perceptions of America throughout the world" (Castillo 49), regards some immigrants as minorities and this has been misused politically and socially to deny certain groups their constitutional rights. James’ rosy integration or melting model was not common for all; there were many immigrants who were forcefully shipped to America as slaves. Theirs was not a story of being accepted in to the family, but being discriminated, mistreated, and overworked with no chance of ever owning their land in America.  <br /> <br />

According to Crevecoeur, the main proponent of the monolithic integration model, an American was any person of European descent, “[they] were once scattered all over Europe; here they are incorporated into one of the finest systems of population which has ever appeared” (Crevecoeur 55). This perspective discriminated against other cultures such as the Italians and black people. In this case, the assimilation theory is incompatible with democratic principles of equality by promoting anti-cultural sentiments towards individuals deemed to come from inferior race or ethnic groups. James’ perspective is discriminatory. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Unjust</span></div></H2> <br /><br />

<div class="citajbm"> Since the late 19th century and throughout the 20th century the concept of melting pot has had negative impacts on the immigration policy. Today, the American immigration policy is as prejudiced as it was in the nineteenth century (Martin 6). Immigration in the U.S, according to Philip Martin and Elizabeth Midgley, is still done through the quota system for some racial groups while other races such as the British, French and Israelis have absolute immigration qualification (36). Many African-Americans, Indians, Latinos and some Spanish are still considered as ‘undesirables’ among the white American society, and being considered minorities, they find it hard to climb the American job ladder (Martin 12). It is undeniable that minorities are better off in the United States than they were in their countries, but it is also true that American politics legislated based on the assimilation perspective, as Crevecoeur proposed in Letter III, is unjust. </div> <br /> <br />

<div class="citajbm"> What defines Americans today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. While the melting pot theory offers an elaborate explanation of flawless assimilation, the perspective has been used as a basis of racial and ethnic segregation (Martin 11). The pluralists view American culture as an integration of individuals with each having a distinct culture. In addition, the subordinate group is not absorbed completely into the dominant culture; this promotes multilingual culture and relations. Assimilation ensures that the society get a feeling of homeland security as each group is recognized (Martin & Midgley 22). To this end, the multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure. Each cultural group has a right to retain its cultural roots and integrity. Multiculturalists support loose immigration and advocate for bilingual education and affirmative action for the benefit of all cultural groups especially the vulnerable (Martin 8). </div> <br /> <br />

<div class="citajbm"> In the centuries that would follow, America would attract numerous immigrants not just from Europe but also from Asia, Africa, and from Latin America (Martin 89). This has changed the ethnic and cultural composition of the American population in a way that Crevecoeur could not have imagined (Martin 50). While these people have been integrated into the American population in terms of labor, obeying laws, and observing the same values, a majority of them still enjoy their cultural heritage, despite discrimination. However, this model of integration has in the past been a source of negative effects, such as through segregation in the provision of various social services, including education, jobs, and even social amenities (Martin 50). </div> <br /> <br />

<div class="citajbm"> In their view, multiculturalists perceive melting pot theory as oppressive; the assimilationists on the other hand support the melting pot theory as one that promotes the will of the majority and not the minority. In addition, the assimilationist view the melting pot theory as positive and promoting national identity (Martin 11). Assimilationist disregard the multicultural perspective of separating citizens on racial and ethnic lines for special privileges. On the other hand, multiculturalists see the idea of monolithic integration as oppressive and the idea that one sees their culture as dominant to the other can be destructive. These individuals often despise others and would not want to stay with their neighbors. “The chase renders them ferocious, gloomy, and unsociable; a hunter wants no neighbour, he rather hates them, because he dreads the competition” (Crevecoeur 67). Thus, according to the multiculturalists the pluralistic perspective augments homogeneity, affirmative action unlike the melting pot theory. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> CONCLUSION </span></div></H2> <br /><br />

<div class="citajbm"> Societies change—for better or worse—and the United States also does. It is clear that Crevecoeur’s idea of a monolithic integration as articulated in Letter III is not a reflection of what a true American is. The melting pot theory is a metaphor that connotes the blending of many cultures, languages and religions to form a single national identity. Immigrants become assimilated as time goes by. Some immigrants are willing to become assimilated, others become integrated while holding onto some of their cultural heritage. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively assimilated in the way Crevecoeur postulated. As Philip Martin correctly points out, "most of today’s immigrants will be an integral part of the American community, albeit a changed community, as the immigrants change and America changes to accommodate them” (Martin 12). "US history and experience are infused with myths and realities" (Martin 12) as it was told by James Hector St. John, the Frenchman who wanted to eliminate his own ethnic boundaries but went back to his roots in France. Nevertheless, Crevecoeur's essay embracing the assumption that an immigrant gets absorbed in the dominant culture as a requirement to be labeled as an American, is incompatible with democracy principles, it is unjust, discriminatory and illiberal. </div> <br /> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Castillo, Susan. "The Ambivalent Americanness of J. Hector St. Jean de Crèvecoeur." Perspectives on Identity, Migration, and Displacement. Ed. Steven Tötösy de Zepetnek, I-Chun Wang, and Hsiao-Yu Sun. Kaoshiung: National Sun Yat-sen U, Humanities and Social Sciences Series, 2010. 48-57. ISBN-10: 9860195064  <br /><br />

• [2] <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [3] Martin & Midgley; Philip Martin and Elizabeth Midgley. “Immigration: Shaping and Reshaping America.” Population Bulletin, Population Reference Bureau, Vol. 61, No. 4, 2006.  <br /><br />

• [4] Martin, Philip. "Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  </div> <br /><br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Annotated Bibliography :  </span> <br /><br />

<div class="JBMCode"> In this journal, written by Susan Castillo and published in 2010, the author uses works written by Michel Guillaume Jean de Crevecoeur to assess her identity as an American. In her analysis, Castillo is very bold and candid and observes that there are several inconsistencies with regard to Crevecoeur’s ‘Americanness’. Castillo goes further and critically analyzes the ideas that Crevecoeur talks about in his Letter III including the idea of a melting pot. Susan Castillo observes that Crevecoeur’s idea of an America excludes a huge percentage of the American population and concludes that Crevecoeur was not honest in his idea of America as a melting pot of cultures. The article makes reference to Crevecoeur’s ideas and compares them to the personal life of Crevecoeur and observes that while Crevecoeur thought himself to be American, he is made to choose between America and his mother country, France. Despite her criticism of the ideas pushed by Crevecoeur, Castillo concludes that Crevecoeur’s work was important in establishing a standard for American literature. </div> <br /> <br />

• [2] Martin & Midgley; Philip Martin and Elizabeth Midgley. “Immigration: Shaping and Reshaping America.” Population Bulletin, Population Reference Bureau, Vol. 61, No. 4, 2006.  <br />

<div class="JBMCode"> This is an articles that was written by Philip Martin in 2003. Martin talks of the continued immigration to the United States which has continually reshaped the identity and the culture of this country. Martin goes further to address some of the contemporary issues that have been raised with regard to immigration. These issues include the number of immigrants who should be allowed in to the country; what kind of immigrants should be allowed and the laws that the government should introduce to deal with the surging immigrant population. Martin notes that America should continue celebrating its status as an immigrants’ country while at the same time developing an immigration policy that ensures their integration.  </div> <br /> <br />

• [3] Martin, Philip. "Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

<div class="JBMCode"> This is a journal written by Philip Martin on the topic of immigration and integration. Martin provides some statistics, demonstrating the high number of immigrants in the US. The number of immigrants is the highest in any country and this is also coupled with a huge population of unauthorized residents. Martin sets the ground for his case and proceeds to show that these immigration statistics are as a result of a failed immigration system. Martin argues that the American population has developing resentment for immigrants because the immigration system has failed. However, Martin notes that despite the failure by the immigration system, integration has largely been successful and is mainly facilitated through the labor market. Martin asserts that US legal migrants enjoy very high wages which attracts them to the country. In the same way, the employers are happy because the migrants provide labor at a lower wage. <br /><br />

Martin notes that this integration has seen most employers become proponents of labor migration. Migrants are also integrated when they help in the economic development of the US as opposed to getting free amenities from the government. Martin notes that despite this integration, migrants in the US are given low wages which push them to poverty while denying them access to health and pension benefits. The situation is contrasted with what happens in Europe where, as Martin says, migrants are not active in labor participation because of unemployment. Martin notes that the employed migrants in Europe are well paid and provided with employment benefits. The conclusion Martin makes is that the US immigration problem is hard working immigrants while a majority of the European countries face an immigration problem from non-working immigrants.  </div> <br /> <br />

</div> <br /><br />

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Essay — «Crevecoeur's Letter III» — What is then an American? (PDF, Videos)

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Dibujo — «por correspondencia» — Continental School (66 lecciones) [RAR, PDF]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/04/dibujo-continental-school.html"> <img alt="Dibujo por correspondencia, Continental School - Official Website - BenjaminMadeira" border="0" height="251" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhztivU4unSv8aYQB8wu7uDMVZA9XV63HPGr5waLRHMDmwGJc365oErMCGrQX3O6SBGBLYI5AwwfmYt8VdGIPlsdiC942iREz-0BMr7Gla1xHh87dZDBo5guPCb8tCC3tda87D2M9Fz0NjF/s280/dibujo_historietas-continental-school-BenjaminMadeira-com.jpg" title="Dibujo por correspondencia, Continental School - Official Website - BenjaminMadeira" width="280" /> </a><br />
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/DM5aYm] Antiguo curso de dibujo por correspondencia, muy famoso en su época. Consta de 66 lecciones_______________________COMPLETO</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/DM5aYm Dibujo cómico por correspondencia, Continental School | #comics #dibujo #CursoDeDibujo #ContinentalSchool #DibujoPorCorrespondencia #DibujoHistorietas #Caricaturas #DibujoPublicitario #DibujoAnimado</div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">CURSO de DIBUJO CONTINENTAL SCHOOL. 66 LESSONS. CARTOON COURSE. Un clásico en la enseñanza por correspondencia. Ahora completo a su alcance online ::</span></div></H2> <br />

<div class="JBMCode"> Cuando era niño (9 años) envié un cupón que venía en una "tira cómica" que hallé en un basurero y sin pensarlo dos veces me matriculé en una escuela de dibujo por correspondencia. "Continental School" era el nombre de aquella institución y como la revista era editada en Argentina, los envíos me llegaron de allí. Mientras mandé unos giros de dinero por correo, me enviaron las lecciones que se detuvieron al poco tiempo de ya no poder seguir pagando, que no fueron muchas lecciones, por cierto. Todos los días me hacía mucha ilusión que me mandaran algo por correo. Ya me imaginaba un caricaturista famoso. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">ENSEÑANZA TÉCNICAS DE DIBUJO - ANIMADO - HISTORIETAS - CARICATURAS - PUBLICIDAD - DIBUJOS ANIMADOS - COMICS. 66 LECCIONES ::</span></div></H2> <br />

<div class="citajbm"> Lección 1 : Instrucciones Generales – Como estudiar para triunfar en el dibujo. El mejor método. <br /><br />

Lección 2 : Para aflojar la mano. Se da una serie de ejercicios sencillos para adquirir soltura y agilidad en el pulso. <br /><br />

Lección 3 : Ejercicios de ablandamiento. Ejercicios para adquirir firmeza en el trazado de líneas curvas, rectas y apuntes ligeros. <br /><br />

Lección 4 : Apuntes ligeros. Como dibujar fácil y rápidamente caras humanas, con pocos trazos y en diversas posiciones. <br /><br />

Lección 5 : Dibujo de la cabeza humana. Construcción de la cabeza humana vista de frente. Diversos pasos a seguir y símbolos a utilizar. Perfecta ubicación de la nariz, ojos, boca, orejas y cabello. <br /><br />

Lección 6 : Dibujo de la cabeza humana. Construcción de cabezas humanas, vistas de perfil. Cuadros con bases simples y fundamentales. <br /><br />

Lección 7 : Cabezas humanas en diversas posiciones. Fórmulas para construír cabezas humanas vistas de todo ángulo. Método rápido para obtenerlas. <br /><br />

Lección 8 : Estudio de las expresiones. Análisis gráfico y teórico de las expresiones de serenidad y risa. Aplicación a toda figura humana. <br /><br />

Lección 9 : Enojo, ira, llanto y sorpresa. Estudio analítico de estas expresiones. <br /><br />

Lección 10 : Terror, malicia, dolor y desprecio. Estudio sistemático de estas expresiones. <br /><br />

Lección 11 : Dibujando el cabello. Técnica propia en el dibujo del cabello, pestañas, bigote, barba, etc. Maneras rápidas de adquirir efectos profesionales. <br /><br />

Lección 12 : Las manos. Manos jóvenes y viejas, femeninas y masculinas. Formas de acción y expresión. <br /><br />

Lección 13 : Dibujos de Manos. Gráfico con manos en infinidad de posiciones, haciendo notar los detalles constructivos de cada una de ellas. <br /><br />

Lección 14 : El dibujo de los pies. Pies grotescos, realísticos de hombre, de mujer, etc. <br /><br />

Lección 15 : Anatomía del hombre. Cuadros mostrando la estructura del cuerpo humano y proporciones entre todas sus partes. <br /><br />

Lección 16 : Anatomia femenina. Características del cuerpo de la mujer. Diferencias entre el cuerpo de la mujer y del hombre. <br /><br />

Lección 17 : Anatomía infantil. Forma correcta de dibujar niños. Descripción de rasgos peculiares. <br /><br />

Lección 18 : Vistiendo al personaje. Como vestir con gracia a los personajes de Historietas. <br /><br />

Lección 19 Estudio de las arrugas. Variados tipos de arrugas, colgaduras, plieges y hundimientos. Explicación del porqué y donde se presentan las arrugas. <br /><br />

Lección 20 : Acción. Inteligente método para poner sus figuras en toda clase de acciones sin perder las proporciones del cuerpo. <br /><br />

Lección 21 : Dibujando mujeres. Método de ilustración de chicas bonitas. <br /><br />

Lección 22 : Escenarios. Como agregar simples toques de árboles, agua, nubes, lluvia, moblaje para preparar el ambiente para diversas situaciones humorísticas. <br /><br />

Lección 23 : Matices y sombras. Dónde y cómo aplicar matices y sombras en rostros, vestidos y escenarios. Simples tretas que agregan vivacidad a sus trabajos. <br /><br />

Lección 24 : Simbolismo. Rostros y costumbres de varias razas. Métodos fáciles para describirlas. Características del hombre de campo. <br /><br />

Lección 25 : Animales domésticos. Como dibujar caballos, vacas, perros, pollos, etc. en posiciones y expresiones cómicas. <br /><br />

Lección 26 : Animales salvajes. Figuras de elefantes, asnos, ratones, lobos, osos, camellos, monos, leones, tigres y pájaros, etc. <br /><br />

Lección 27 : Perspectiva. Lección de perspectiva que Ud. recordará toda su vida. <br /><br />

Lección 28 : Letras. Método práctico para dibujar letras. Guía para conseguir perfectos dibujos de letras. <br /><br />

Lección 29 : Letras. Letras para leyendas y títulos. Estilo de letras adaptadas para historietas políticas, deportivas, encabezamientos humorísticos, etc. <br /><br />

Lección 30 : Letras para Publicidad. Letras para anuncios de diarios y revistas. <br /><br />

Lección 31 : Creación de personajes cómicos. Procedimiento a seguir para crear personajes de fácil éxito. <br /><br />

Lección 32 : Argumentos para Historietas. Deiversos pasos a seguir para la obtención de un argumentos para Historietas. <br /><br />

Lección 33 : Ideas para Historietas. Armazón para construír miles de ideas cómicas. <br /><br />

Lección 34 : Cómo desarrollar un estilo personal. Puntos para ganar distinción original. Personalidad en el estilo. Base y camino al éxito. <br /><br />

Lección 35 : Posiciones difíciles y complicadas. Métodos singulares para obtener posiciones difíciles de personajes cómicos. <br /><br />

Lección 36 : Historietas deportivas. Ideas para ilustrar fútbol, box, golf, básquet, tenis, pelota a paleta, etc. <br /><br />

Lección 37 : Publicdad. Historietas publicitarias. Estudio amplio y minucioso sobre este campo de actividad. <br /><br />

Lección 38 : Publicidad. Armonía en las formas y color de todo anuncio. Publicidad gráfica y anuncios comerciales. <br /><br />

Lección 39 : Publicidad. El aviso en los diarios. El aviso en revistas. El aviso de corte moderno. <br /><br />

Lección 40 : Siluetas. Un método sencillo para diseñar ilustraciones mostrando el desarrollo desde el esquema hasta el dibujo terminado. <br /><br />

Lección 41 : Caricaturas. Con una sola lección aprenderá a dbujar Caricaturas de fácil éxito. <br /><br />

Lección 42 : Presentación. Equilibrio de tonalidades y formas de historietas y publicidad. Encuadre de los personajes. Cómo utilizar el auxiliar de encuadre. <br /><br />

Lección 43 : Efectos fantásticos. Como dar la sensación de velocidad a un vehículo, en un proyectil. Sensaciones de altura, choques, explosiones, etc. <br /><br />

Lección 44 : Técnica. Proceso técnico para la confección de una Historieta. Todos los secretos profesionales necesario para el éxito de las mismas. La Historieta en tiras. La escena cómica. El lavado de los dibujos. Personajes principales y personajes secundarios. <br /><br />

Lección 45 : Teoría del color. Colores primarios y secundarios. Mezcla del color, aplicación del color, etc. <br /><br />

Lección 46 : Técnica. Técnica de grabaciones e impresiones. Sistema offset. <br /><br />

Lección 47 : Formando el archivo.Todo historietista debe tener su archivo.Esta lección le explica cómo organizarlo. <br /><br />

Lección 48 : Como vender sus propias ideas. Prácticas ideas para vender sus Historietas y los esquemas a los editores, estudios publicitarios y otros muchos comerciantes del trabajo artístico. Forma correcta de presentar una Historieta a la Dirección de un diario ó revista. <br /><br />

Lección 49 : Dibujos Animados. Inciciación del estudio del Dibujo Animado. Breve descripción de sus aspectos técnicos fundamentales, historia, posibilidades, su importancia en la vida moderna. <br /><br />

Lección 50 : Argumento para Dibujos Animados. Como se planea. Trabajando en la trama y desarrollo del relato. ”Timing sheet”. Tomando el tiempo de la acción, para determinar los efectos del sonido, música y tiempo. <br /><br />

Lección 51 : El Director musical. Componiendo para el “film”. Grabación de sonidos humanos. Sonomontaje para el diálogo, efectos sonoros y música. Heliografía para los animadores. Dibujos llave y extremos. Diseño de fondos. <br /><br />

Lección 52 : Dibujos de extremo de una acción ejecutada por el animador. Dibujos en plena acción mostrando el proceso de intermedios. El animador cortando de golpe la acción. Proyectando el “film” como prueba. <br /><br />

Lección 53 : Diseñando fondos. Fondos estáticos y dinámicos. Pasando los dibujos a tinta. Departamento de Pintura. Departamento de Fotografía. Observando el dibujo en la pantalla. <br /><br />

Lección 54 : El “Flip Book” qué es, cómo se prepara, para qué sirve. Es esta una de las lecciones más interesantes y útiles sobre Dibujos Animados. <br /><br />

Lección 55 : Animando escenas simples. Un hombre entrando en su casa animado en forma sencilla por el propio estudiante. Aquí comienza a practicar la animación. <br /><br />

Lección 56 : La bailarina de rumba. El estudiante habrá de animar a una bailarina ejecutando una baile de rumba, en base a las figuras, dibujos claves e intermedios que le hemos de suministrar. <br /><br />

Lección 57 : Animando cuentos cortos. Aquí comienza el estudiante a realizar por sí mismo un Dibujo Animado de corta duración en base a una famosa fábula de Esopo. <br /><br />

Lección 58 : Expresiones. En dibujos animados la animación de los rostros debe sincronizar con la pronunciación del diálogo. Esta lección le enseñará cómo se hace. <br /><br />

Lección 59 : Películas para televisión y anuncios comerciales. Stop Motion. En qué consiste, como se lleva a cabo. Ejemplos prácticos sobre “Stop Motion” y las ventajas de su aplicación comercial. <br/><br/>

Lección 60 : Práctica final. Realizando una película de anuncios comerciales. Le brindamos un personaje, un producto y el fondo, subrayando detalladamente cada escena. El estudiante deberá realizar los extremos e intermedios para el “Flipbook” y podrá ver su propia película en movimiento. <br /><br />

Lección 61 : Animación de Fábula. Secretos profesionales de animación. <br /><br />

Lección 62 : Fondos fijos y movibles. El Panorámico. La cámara múltiplano. <br /><br />

Lección 63 : Animación limitada para televisión. Economía de rodaje. <br /><br />

Lección 64 : Animación limitada para televisión. 2da parte. <br /><br />

Lección 65 : Visitando un estudio de dibujos animados.Departamento de Animación y Pintura. <br /><br />

Lección 66 : Instrucciones Finales. Cómo debe hacer para vender sus trabajos. <br /><br />

Cada Lección cuenta con una sección denominada "Secretos Profesionales" y otra como "Aplicación Práctica". A pie de cada lección se señala el deber o la tarea que debe realizar el alumno según la lección descrita con anterioridad. </div> <br />

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