School Vouchers Essay -- Educational Vouchers Scholarships

One of the most important topics in government today is the issue of school vouchers. The two sides have remained deeply entrenched in their rival positions concerning this issue. Some wonder about the practicality of using the vouchers, while others wonder if it is defeating the purpose of the educational system. Educational vouchers can be very beneficial for both the student and even the school districts involved in the program. Many people do not realize the benefits of this program. Educational vouchers are something that many school districts need to implement due to their advantages. The benefits of educational vouchers very much outweigh the disadvantages.   Ã‚  Ã‚  Ã‚  Ã‚  Educational vouchers, also known as scholarships, redirect the flow of education funding, channeling it directly to individual families rather than to school districts. This allows families to select the public or private schools of their choice and have all or part of the tuition paid. These vouchers are funded by either public (government) or private (corporations, foundations) funds. Scholarships are advocated on the grounds that parental choice and competition between public and private schools will improve education for all children (www.schoolchoices.org).   Ã‚  Ã‚  Ã‚  Ã‚  Publicly-funded education vouchers allow families to make private decisions regarding how public taxpayer money should be spent. Therefore, a voucher program hopes to create an educational market where schools must compete for students. Supporters claim market benefits, such as choice and innovation, will improve education. Opponents, on the other hand, say that vouchers will lead to greater inequality and the loss of civic preparation. Current evidence concerning the impact of vouchers is disputed (IBID.).   Ã‚  Ã‚  Ã‚  Ã‚  The Zelman versus Simmons-Harris court case that ended on June 22, 2002, is probably one of the most monumental court cases to date on this subject. The United States Supreme Court upheld a Cleveland, Ohio school voucher program by a 5-4 vote. Judges Rehnquist, O’Connor, Kennedy, Scalia, and Thomas were for the decision (www.law.umkc.edu). This case was the latest in a long series of Supreme Court decisions that eroded constitutional requirements for school voucher programs.   Ã‚  Ã‚  Ã‚  Ã‚  In order to comply with these constitutional requirements, a constitutional voucher program must take many actions. The prog... ...oney to afford a better school. If the administrators continue to allow this, we are denying our children’s’ rights to a good, quality education. School vouchers are something that can guarantee a parent the right to send the student to any school that would best fit his learning style and values. Voucher programs are perhaps the most effective way to help low-income families become active consumers in the educational marketplace, helping them gain control over their children’s education and encouraging them to become more involved. Educational vouchers are a way of putting the student first†¦which should be the main goal of educational personnel everywhere. By implementing an educational voucher program, schools will better themselves and students across the nation will reap in the benefits. WORKS CITED â€Å"Case Analysis.† Americans United for the Separation of Church and State. www.au.org â€Å"Education Vouchers.† www.ncspe.org . â€Å"School Choices.† www.schoolchoices.org/roo/vouchers.htm . â€Å"So You Wanna Learn About School Vouchers?† www.soyouwanna.com/site/pros_cons/vouchers.html â€Å"Zelman v. Simmons-Harris.† www.law.umkc.edu/faculty/projects/ftrials/conlaw/zelman.html .

Plagiarism and the Internet :: Cheating School Education Essays

Plagiarism and the Internet Herman Melville once stated, But it is better to fail in originality than to succeed in imitation. (http://koti.mbnet.fi/neptunia/creativity/origin1.htm 5). Thousands of Americans would assert that Melville was a very wise author, and even more would attest that they too believe that cheating is wrong; why is it then that over a century after his death, our society has become even more intent on plagiarizing the works of others? Frankly, as time has gone on, it has just become incredibly easy for people to plagiarize, especially now when ideas are so easily accessible on the internet. In order to truly understand this unauthorized use of others ¦Ãƒ  hard work, it is important to explore the idea of plagiarism, laws concerning plagiarism, and this new overwhelming abundance of information on the web. Foremost, plagiary is the use of another person or organization ideas, words, or creations without giving credit where it is due. Not only is plagiarism wrong, it is also on the rise. According to a study done in the Free Press in 1996, 58 percent of high school students admitted to having let another person copy their work in 1969, while twenty years later, 98 percent let someone else copy their work (http://www.plagiarism.org/plagiarism_stats.html 4). There is very likely a direct correlation between this outrageous increase and the increase in the availability of information on the web. Many students may even be plagiarists without knowing it! It is extremely easy to become lazy and forget to give credit where it is due by using citations in papers. Very often, students may also feel that they cannot word what an author has already said as well as it was said in the first place; therefore, they choose to just use the original author words without quoting correctl y, sometimes without giving the author any credit at all (http://www.umf.maine.edu/~library/plagiarism/what_is.html 4). Plagiarism is just as huge of a problem in schools as it is in the  ¡Ãƒ real world. ¡ÃƒÅ" Not only is the act of plagiary ethically wrong; it is also considered a very serious academic crime. Everyone knows that it is wrong to steal something from another person, but oftentimes people just don seem to want to lump plagiarism in the same category with other criminal acts.

Advancement of Civic Engagement by Community Foundations in Low Income

The role of civic engagement in neighborhood revitalization, particularly in low income African American communities, has gained increased awareness and in recent years. Community, nonprofit, and government leaders now view civic engagement as a critical component of effective solutions as they seek to address crime, unemployment, low graduation rates and numerous other neighborhood challenges. Several successful initiatives have come to fruition and provide strong evidence of the benefits that increased civic engagement provides. Experts commonly define civic engagement as individual and group actions that collectively address general issues of concern that are public in nature. Civic engagement takes many forms such volunteerism, community organizing, and involvement in public policy and political issues. Individuals and community residents can express civic engagement through a variety of activities including participating in neighborhood associations, communicating with elected officials, and volunteering for local nonprofits. Golod (2008) analyzed the Southside Family Charter School located in Minneapolis, MN which serves as a prime example of early civic engagement. Students enrolled in the school reside in a low income community that is close to 50% African American. To improve civic engagement of students and parents, school administrators have developed lesson plans with a focus on civil rights. As a result, the community is preparing a new generation of residents focused on improving their community who follow in the footsteps of parents serving in volunteer capacities and as strong neighborhood activists. The McCormick Foundation recently demonstrated a commitment to civic engagement here in Chicago by ... ...are: Pushing the boundaries of civic engagement for african american youth. Liberal Education, 97(2), 34-39. Golod, F. (2008). Civil rights and social justice: A path to engagement and transformation. Horace, 24(3), 6. Grillo, M.,C., Teixeira, M. A., & Wilson, D. C. (2010). Residential satisfaction and civic engagement: Understanding the causes of community participation. Social Indicators Research, 97(3), 451-466. Kimball, K., & Kopell, M. (2011). Letting GO. Stanford Innovation Review, 9(2), 37- 41. Maton, K. I. (2008). Empowering community settings: Agents of individual development, community betterment, and positive social change. American Journal of Community Psychology, 41(1-2), 4-21. Tester, G., Ruel, E., Anderson, A., Reitzes, D. C., & Oakley, D. (2011). Sense of place among atlanta public housing residents. Journal of Urban Health, 88(3), 436-53.

The Infinity Mirror :: The Infinity Mirror

The Infinity Mirror    "Tularecito" is a myth about truth. Tularicito, just a character of that myth, is the focus for this glossed over fable. Steinbeck draws on this form of genre to present the idea that we are all a part of what happens to others, based upon our nature.    The image presented of Tularecito is that of a demon, an idiot savant, a boy with a gift from God, and that gift's cost. He is a freak, a dangerous misfit, an innocent who does not need the constraints of reality. Tularecito is a test. The test is one of moral caliber. It is a test of the souls of the characters who overshadaow Tularecito.    Pancho is a man that is both holy and sinful. His purfunctory act of church going becomes true belief as alcohol demons induce him to halucinate a deformed boy into an outcast from hell. He looks into his mirror and sees himself, becomes shaken, reforms.    From Pancho's employer, Franklin Gomez, we get a cold hard look into society. We see a mother, knowing her son is to be hated and feared, and perhaps possibly killed, cannot face killing her son with her bare hands. She leaves the killing to exposure to the elements, enying herself a look into Tularecito.    Franklin adopts Pancho's demon, and Tularecito transforms into a disadvantaged who has been gifted with talent. Tularecito becomes a man at the age of six, "The boy grew rapidly, but after the fifth year his brain did not grow any more," To Franklin, Tularecito is grace, and graceless. He is talented in all things of any physical strength, and well proficient in the creation of beauty, and an artist in the care for life of nature. The touch of Tularecito brings beauty, and life, and love to the world, until he becomes enraged, (should anyone endanger what came from the touch of his hand). Franklin looked into   Tularecito's mirror and saw what Tularecito was.

Casablanca :: essays research papers

How can a hero survive in a world gone mad? Casablanca, the classic 1940s film, was known as the greatest movie ever by some, and also seen as being one of the most important novels of the 20th century, revolve around a world in confusion, where no one trusts anybody else, and a war wages on within and without. Rick dealt with a world rocked by the impacts of World War II, where everyone was a spy, and even the spies were spied on. Rick is a cynic, tossed into a chaotic yet romantic world, and comes forth victorious. In Casablanca, we emerge with a feeling of hope, and joy, that the forces of good can win, and that eventually we will triumph over our enemies, wherever or whatever they may be. While slochky and romantic, Casablanca is a touching movie, and probably one of the best ever made. It takes place in a world gone mad, where nothing is truth, and reality is always questionable. Sam of course, is stability. He can't be bought or sold, and is seemingly a constant, always there and never too deep into the problems of the world. Sam represents the carefree aspect in all of us, the feeling that we'd just as soon turn our attention away from the war and hum a tune. Rick faces the ultimate human enemy which is the unimportance of an individual. Rick exemplifies this theme, as he relates to Ilsa: "The problems of two little people don't amount to a hill of beans in this crazy world." Simply put, individuals don't matter. That the events surrounding their world and time overpower those of the individual. Casablanca deals with a festive arena in the midst of war, Rick's Cafà © Americain,yet it is set in a typical place that is different than the surrounding world. Outside Rick's a war wages on, but inside the kindly cafà ©, an atmosphere of warmth and freedom emanates. Yet it is soon crushed by the iron fist of the Germans attempting to capture the rogue Lazlow.Rick's world is apart by forces beyond his control which he wins in the end. In summary, Casablanca revolved around the idea that humanity is losing its personal identity to that of the masses. The individual, in both cases, is far less important to that

Art: Interaction vs Participation :: Graduate Admissions Essays

Art: Interaction vs Participation I am a Burning Man participant since 1998. Last year when I went to SIGgraph -- my first since I began participating in Burning Man -- the artwork there left me utterly uninspired. Nothing there brought to life a deeper desire to create like the artwork at Burning Man did, though both events deliver similar kinds of artwork. Don't get me wrong. The art at SIGgraph was good but it didn't change me like the art at Burning Man does. I have been trying to define what that difference is. And more importantly, how to harness whatever aspect of Burning Man art makes it so much more deeply inspiring. I believe I am finally able to draw that line, and that line is what seperates interaction from participation. What is the definition of interaction? The on-line Mirriam Webster dictionary defines interation thus: "mutual or reciprocal action or influence". In art, interaction can be a button or control that has influence over the art in some way. Interaction in art brings the viewer into the art by allowing the viewer to have control over aspects of the art itself. This adds a dimention of action vs. passiveness, inclusion vs. exclusion, direction vs. submission. Interactivity allows a viewer to have defined control over the art in some form. So what makes participation different from interaction? The second M-W definition of participation is this: "the state of being related to a larger whole." A very powerful statement in the area of art, but what does it mean? How can the viewer become a part of the greater whole in a piece of artwork? I have an answer for this question, but first let me describe some examples of participation and interaction and see if that line becomes easier to draw: At SIGgraph 1999, there was a marble-maze game. The viewers step on the virtual maze to tip it to make the virtual marble roll through part of the maze. The first act of "participation" at Burning Man was at the first Burn. Larry Harvey built a large wooden man and took him to Baker's Beach to burn him. People began gathering around. While he burned, a woman went over and held the Man's hand. I read a story about a group that brought materials for building sock puppets.

A Case Analysis of Cirque Du Soleil

Cirque Du Soleil is a company that has built its success on its ability to be creative and innovative. It has successfully developed a new market and continued to expand on that market. This makes Cirque Du Soleil an example of a company that has creativity and innovation at its base. The following paper will focus on Cirque Du Soleil as a creative and innovative company. It will consider its product and creative strategy. It will look at the structure of the company and how this enhances creativity. Finally, it will look at the threats facing Cirque Du Soleil and what the company can do to ensure its ongoing success. Cirque Du Soleil's product is a performing circus. The basis of the company is a show combining music, dance, and theater. The show uses acrobats, gymnasts, clowns, and other performers. The show also uses a type of music based on a created language. The purpose of the music is to transcend cultural boundaries and make the show accessible to everyone. The company's show is also multicultural in nature. It is designed to reach the widest audience possible. This is done by using the music that is not based on any real language. It is also done by using performers from around the world. The company is global and shows are performed throughout the world. Cirque Du Soleil has also expanded into other areas. This has included releasing two films and a television special. This has also included ventures in publishing and merchandising. Cirque Du Soleil also opened a permanent theater near Disneyland, Florida, in 1998, with the theater including a Cirque Du Soleil store. These expansions show that the company is diversifying in a creative way. The expansions are all based on ways to increase the value of the Cirque Du Soleil show. This shows creativity, not in creating new things, but in finding new ways to benefit from the basic product of the company. The organizational structure of Cirque Du Soleil is based on recognizing the value of the performers. The case study describes the former tour director Vincent Gagne stating that he always emphasized to tour staff that they were there to serve the artists. This shows that the artists are recognized as representing the value of the company. The other services then become support services. This is not a case where the artists are at the top of the organizational hierarchy. However, it is a case where the artists are recognized as delivering the service that allows the organization to succeed. Gagne also suggests a good metaphor for the organizational structure, which is that of a circle. The performers can be considered as being at the center of the circle. They do not have high positions or decision-making authority, however they are the basis of the organization. The support staff are in the next circle. They have greater decision-making authority, but their work is defined by their need to satisfy the performers. Several of the employees described in the case study are in this level and they all describe their work as being focused on the performers. Gange does this when he states that the tour staff and technical people have to realize that they are there to support the artists. The casting director for Cirque Du Soleil, Cantin, describes how she looks for performers based on whether they will be able to fit in at the company. This shows that the performers are central to the organization and to the decisions made. In the final outer layer of the circle are the upper management. They have the greatest decision-making authority, but they are also operating based on pleasing the performers. This structure supports creativity because it puts the creative people of the company as central to its functioning. At the same time, the decision-making being at higher levels allows the creative people to be free to create and be innovative, without having any concerns related to how the company functions. Another key part of the organizational structure is that it is informal. This is seen in the case study, where Gagnon describes the company as not having a handbook on employee conduct. It is also seen in the case study where Gagnon describes employees as being fired and then rehired. Gagnon also describes an employee newsletter where employee's uncensored comments are published. These all show an informal structure and an organizational culture that is based on employee freedom and low authority over employees. Schein (2003, p. 121) notes that a culture of freedom increases employee creativity. Daft (1997, p. 325) also notes that â€Å"many organizations today are becoming less formal in order to be flexible and responsive to a changing global environment. † In the case of Cirque Du Soleil, the structure has always been informal and this allows it to encourage creativity and be more flexible and capable of change. One of the key environmental challenges is related to the artists and performers. It has been noted that the artists and performers are central to Cirque Du Soleil's product. This makes ensuring the good performance of the artists a key concern. There are several factors that are risks for the company. The first is that the artist's may rebel against the company. The case study notes that this occurred in 1987 and 1988, when many performers rebelled over concerns that management was not doing what was best for them and that the company was not operating based on the original spirit of the group. As the company expands furthers, it seems reasonable that the performers may again feel that the company is not operating in the same spirit as before. This is especially likely to occur as the company becomes more focused on finances. This may lead to either artist rebellion again or to artists leaving the show. Another problem related to performers is the high injury rate. The case study notes that 37 injuries were listed for 57 artists three-quarters of the way into the United States tour of the show Dralion. This shows an ongoing problem that has the potential to reduce the quality of the show produced. Finally, the work of the performer is demanding, with the case study noting that many performers leave because they cannot handle the touring life. These problems related to the performers are critical ones for two reasons. Firstly, the performers are the basis of the company's product. Secondly, finding, hiring, and training employees is a considerable expense. This makes it crucial that Cirque Du Soleil find a way to manage employees effectively, while promoting their creativity. Another challenge that faces Cirque Du Soleil is based on one of its key success factors, which is its ability to offer a new and unique show that impresses the audience. There are two main reasons that this ability to astonish an audience may be lost. One of them is seen in the experience of the conductor at Cirque Du Soleil, Oberacker. Oberacker notes in the case study that he is not as highly impressed with the show as the audience is. He links this to his experience on Broadway and notes that he has seen more astonishing things. He also notes that the shows ability to impress is not based entirely on the artists, but on how it is presented with lights, costumes, and music all adding a larger sense of awe. There are two potential problems that this indicates. The first is that other companies may realize the success factors of Cirque Du Soleil and become direct competitors. Currently, theater companies, drama companies, Broadway shows, and operas are competitors in the entertainment market. However, they target a high social class and tend not to be accessible to the general public. Cirque Du Soleil is offering a similar product, but it is targeted to a more general audience. This leaves the possibility that the competitors mentioned above will adjust their marketing strategy and become direct competitors of Cirque Du Soleil. One source notes that this is a significant problem for companies that are based on one specific product (Kotler, Armstrong, Brown, & Chandler, 1998). This is true for Cirque Du Soleil since even though they have diversified into new areas, their basic product is the performance they offer. If other companies start to compete with similar shows, Cirque Du Soleil will lose a significant part of their market. The other problem is that audiences may become used to the show and its elements. If this occurred, the show would not create the same sense of astonishment in an audience. This is also related to the perception of the product. Perreault and McCarthy (2000) note that a product's success is not based on the product itself, but on how well it meets or exceed expectations. For the astonishment factor to be achieved, Cirque Du Soleil need to exceed the expectations of customers. With the excellence and quality of the show is generally recognized, this leads to increasing customer expectations. The end result is that Cirque Du Soleil has to constantly improve to remain impressive. To remain successful, Cirque Du Soleil has to manage creativity and continue to innovate. One change that may be required is to take the emphasis off the performance requirements of the show. The case study notes that the number of shows has increased. The question this raises is how Cirque Du Soleil can continue to create new shows that will have the astonishment factor. It is suggested that this could be achieved more successfully if the company limited the number of shows produced. This would create a demand for the product. This strategy takes into account that the success of Cirque Du Soleil relies largely on its image, where the show is recognized as something astonishing and unforgettable. If this quality is lost, the entire company will be at risk. This suggests that limiting the amount of productions would be effective. It would allow artists and performers to concentrate their creativity on creating one show of the highest quality. This strategy would also be an effective way of managing performance staff. Performance staff would be heavily involved in development and be the creative force for the new shows. With a significant amount of time available for development, performers could innovate, experiment, and develop new ideas. At the same time, their energy would be better directed into the shows because the demands would not be as high. Revenue could then be increased for Cirque Du Soleil by focusing more on merchandising and finding other ways to increase income. This focus is based on recognizing that Cirque Du Soleil's reputation makes it a brand, where a brand's value is not just based on a product or service, but based on a perception about the company overall (Reynolds, 2004). Cirque Du Soleil has a strong brand and could diversify by increasing the number of ways that additions are made to the brand. This would allow the company to continue to grow, but in a way that does not place additional demands on the basic performance product.