Primary education- reflective practioner Essay Example | Topics and Well Written Essays - 1000 words

Primary education- reflective practioner - Essay Example First of all the identification of the problem or of the bottle neck at work is one step towards solving it. When a teacher cannot see the problem he must ask the senior colleague for an advice. There are several ways to identify the problems: to analyze the situation and come to the conclusion by yourself, to have some work with literature and get from there the problem identification or to ask a more experienced colleague. I believe that Action Research involves people who want to improve their skills and strategies. Every problem contributes greatly to the personal and professional development of a teacher. It brings not only additional experience but also the feeling of satisfaction when the problem is successfully resolved. According to your report researches place great importance to the literature analysis on the early stages of Action Research. Teachers do benefit from the theoretical preparation for the problem solving. It is always useful to see the thoughts of other specialist, to read scientific material or to find the same situations as you face. Action research is not the process of how to solve a concrete problem but how to make things better in your professional sphere. That is why it is important to interpret the data properly – to make some conclusions out of it. For example, a teacher faces the problem of poor parents’ interest in the studying process of their children. A teacher realizes that motivation at home plays the leading role for pupils. In order to encourage parents to be more attentive it is possible to have the parent’s meeting every week or to visit them at home reminding not to forget to check the home task of their children. Action research really brings the positive changes to the educational process. The main thing, as for me, is to feel that teaching is your cup of tea and

Aviation security Research Paper Example | Topics and Well Written Essays - 2250 words

Aviation security - Research Paper Example Reports from the radar signal imply that, before the crew lost contact with the Air traffic controllers, the flight might have turned around. The international investigators who were searching for the missing plane released a report in which they indicated the prevalence of rough conditions which did not allow for effective search of the plane such as deep water in the Indian Ocean and remote location. The search was commenced in the South China Sea and Gulf of Thailand since it was the area in which the plane was missed on the secondary surveillance radar. After analysis of the path the flight might have taken, the search team shifted their efforts to the southern part of the Indian Ocean by narrowing their areas to 60,000 km2 of West of Australia. The search on this area was utterly unfruitful. There was no indication of any flight debris or a crash site. As such, the there was no official theory which was formulated by the authorities that could have aided in the search for the missing flight. As a result, there were informal many theories and speculations of what happened to the plain. There are no reports on where the plane might be or whether the passengers and the crew members are still alive despite month of searching. The search effort for this plane is of a multinational dimension which has turned out to be the most expensive and largest search efforts in history. There has been diverse theories and misconception about the causes of disappearance of the Boeing 777. Some of the theories indicate that the plane was shot down due to military conflicts between Thailand and the United States in the South China Sea. This theory is developed in Nigel Cawthorne’s Flight MH370: The Mystery. In his theory, the shoot down might have been accidental. Another theory is the â€Å"9/11 theory† that has been widely spread in the internet. The theory originated from Christopher Green of

Independent investigation

Independent investigation Independent Investigation The Fugue vs. Traditional Eastern European Music A fugue can be defined as a polyphonic form in the Baroque era in which one or more themes are developed by imitative counterpoint.Similarly, traditional Eastern European folk music is solidly based on rules of strict imitation between voices. In order to show the similarities between the imitative forces in a fugue and traditional eastern European music and how the imitation within eastern European vocal music can be defined as the foundation of fugal writing, Benjamin Brittens The Young Persons Guide to the Orchestra(Variations and Fugue on a Theme of Purcell)and Song of Schopsko(Erghen Diado) will be examined and analyzed for their musical content. Benjamin Britten lived from the years 1913 through 1976. In addition, Britten is considered to be apart of the British national school along with the composer Ralph Vaughan Williams. He is also said to be one of the foremost opera composers of his time. The Young Persons Guide to the Orchestra is a fugue based on a rondeau from 17th century composer Henry Purcells incidental music to the play Abdelezar. The Young Persons Guide to the Orchestra was composed in 1946. The purpose of this work is to introduce children to the orchestra by presenting each section and individual instrument of the orchestra. The orchestra is essentially taken apart in the variations and then reassembled during the fugue. The medium for this recording of the piece was the Los Angeles Baroque Orchestra. The piece begins with the statement of the theme presented by the entire orchestra creating a monophonic texture. This then transitions to strict imitation of the theme by the woodwinds, brass, strings percussi ons, and concludes with the full orchestra. The eight-measure theme is presented in D minor. Following the presentation of the theme, thirteen variations of the theme are heard starting with the woodwinds and then followed by the strings, brass, and percussion. Each instrument of the orchestra has its own solo; these solos begin with the highest pitched instrument of each family. Following the section of variations is the fugue. The subject is based on a fragment of the Purcell theme played in B minor. This is played in imitation by each instrument of the orchestra in same order as the variations. Dynamic contrast is heard throughout the piece through the use of crescendos and decrescendos. The overall tempo of the piece is allegro. However, the meter changes from triple-duple, to compound meter, and concludes in duple simple. Timbre shifts are also present as the different sections and different instruments are heard. In regards to style trills, glissandos, and pizzicato can be hea rd throughout the piece. The form of the piece is binary. Lastly the melody exhibits a wave-like contour and is mostly conjunct. Bulgarian Music is apart of the Balkan tradition, which stretches across southeastern Europe. Bulgarian vocals are said to be open-throated. Singers concentrate their voices in a way that gives the sound a distinctive edge, and allows theirs voices to travel over long distances.The distinctive sounds that are produced from women vocal choirs that sing Bulgarian folk music is based on their unique rhythms, harmony, and polyphony, for instance the use of close intervals like theminor second. These traits are especially common in music from the Shope region around the Bulgarian capital of Sofia and the Pirin region.Although it uses Western meters such as duple simple, triple simple, and quadruple simple, Balkan music also includes meters with five, seven, eleven and even fifteen beats per measure, sometimes referred to as asymmetric meters.These can often be understood as combinations of groups of quick and slow beats. For example, the dancelesnoto(the light/easy one) has a meter of sev en beats with emphasis on the first, fourth, and sixth beats.This can be divided into three groups, a slow unit of three beats and two quick units of two beats, often written 3-2-2.Song of Schopsko is a choral work that is performed by the Bulgarian State Radio Television Female Vocal Choir. This piece is a tradition Bulgarian folk song. The publishing of this piece along with the entire album, Le Mystà ¨re des Voix Bulgares, came from the support of Swiss ethnomusicologist Marcel Cellier. Song of Schopsko is largely based on strict imitation between the alto and soprano voices. The form of the piece is through composed. Within the piece tertial harmony can be heard between the two sets of voices. The melody is singable with a medium to wide range and also has a wave-like contour. There is dynamic contrast heard through the use of crescendos and decrescendos. The melody climaxes on high notes and is mostly conjunct with some disjunct leaps. The meter is triple simple with a steady andante tempo. In regards to harmony the key is major with no modulations. There are also even four-bar phrases. In Benjamin Brittens Young Persons Guide to the Orchestra the imitation begins with the presentation of the Purcell theme. Theme A is played by the orchestra in its entirety. Theme A is then presented in the woodwinds in imitation of the original melody. Theme B is given to Brass is differently harmonized than Theme A. However, Theme B is also presented in imitation among the various instruments of the brass section. Theme Cis played by the strings (including the harp), the Purcell melody moves down the instruments from the 1st violins and concludes with the double basses.Theme Dfeatures the percussion, with the timpani playing the pitched parts of the Purcell theme, while the rest of the percussions simultaneously present the rhythm of the melody. Finally, we come toTheme G, which is an exact repetition ofTheme A, using the full orchestra. The Purcell theme is played six times, with different instruments and varied keys to create variety and present different timbres. This use of di fferent timbres was one of Benjamin Brittens ideas. These shifts in timbre keep the listener engrossed in the music. Fugal parts include the subject, answer, countersubject, exposition, episodes, and are then followed by contrapuntal devices. Through strict rules of imitation all of this is made possible. In Benjamin Brittens The Young Persons Guide to the Orchestra the fugal subject, main theme of the fugue, is presented first by the piccolo. The subject is in an Allegro molto tempo, B minor, and is 8 bars long. Following the subject is the answer performed the remaining instruments of the orchestra in the same order as the variations- from highest ranging instruments to lowest from the woodwinds, strings, brass, and concludes with the percussion. The subject has a descending sequence similar to the original Purcell theme. In addition, Song of Schopsko follows fugal rules through the use of imitation. What could be said to be a subject is presented in the lead altos voice; which is then followed by answer to the subject in strict imitation by the remaining members of the Bulgarian State Radio Tel evision Female Vocal Choir. The piccolo part that is presented at the ninth bar of the fugue is presented enough to be considered the counter-subject. The playing of this original melody is the countersubject, which is played in response and at the same time as the imitation occurring in the answer. After this has been performed the exposition of the piece has come to a conclusion In Song of Schopsko, the countersubject is presented again by the lead tenor vocalist who sings the counter subject. The counter subject is presented while the remaining voices of the choir continue the strict imitation of the theme. The simultaneous presentation of the counter-subject and the answer produce a contrapuntal or polyphonic texture within the piece. After the subject is introduced by the tenor, answer presented by the remaining voices of the choir, and counter-subject by the lead tenor vocalist are presented the exposition of Song of Schopsko has concluded. After the exposition has come to a finish various episodes are presented in both pieces. In Benjamin Brittens Young Persons Guide to the Orchestra the full orchestra presents the fugue while the entire brass section re-introduces Purcells theme from the rondeau from Abdelezar. Again the simultaneous presentation of these two elements produces a polyphonic texture with serves as the contrapuntal device within this piece of composition. Within Song of Schopska, 4 different episodes can be heard. As the lead alto vocalist begins each phrase the rest of the choir joins in with the same melody in strict imitation. All of these episodes are presented in the same manor as the first and remain in a major key. This piece is very responsorial, but these responses are imitative of the subject produced by the lead singer. At the grand coda of Benjamin Brittens Young Persons Guide to the Orchestra, the Purcell theme and fugue are presented together. Also when the final cadence is reached at the t empo animato, the percussion section continues on for nine more measures and this continuation serves as a cadential extension. The variations within Benjamin Brittens Young Persons Guide to the Orchestra, not considered to be apart of the actual fugal element of the piece, present some of the contrapuntal devices that a fugue has. The flute variation is the Purcell theme presented in diminution and this variation is accompanied by the piccolo. Throughout the flute variation imitation occurs between the 1st and 2nd flute. In the bassoon variation presents the Purcell theme in a dotted rhythmic form. The violin variation is based on opening chords sweeping over a wide range of the violins, with the use off triple stopping. Imitation also occurs here, between the 1st and 2nd violins.Lastly within the section of brass variations is the tuba and trombone variation. The opening trombone parts are based on the Purcell theme, with the notes rearranged. Song of Schopskoand The Young Persons Guide to the Orchestra imitative compositional styles are strikingly similar. Despite Song of Schopskobeing a traditional Bulgarian choral work the imitation that occurs within the piece can be compared to the imitative features of the components of the fugue. As stated earlier, the concepts of a subject, answer, countersubject and an episode can be loosely found within Song of Schopsko even though it is not a fugue. The reason for these similarities is because of the imitation that occurs in traditional eastern European music. Their rich culture in regards music has not been super-imposed and can still be found and Song of Schopsko is a perfect example. Connections can be drawn between the similarities between the eastern European choral music and the fugue of the western European culture. With the rich tradition of eastern European music that developed throughout the centuries, it can be seen that their musical influences shaped how the fugue is presented. The continuous imitation that occurs is a major component of how the fugue is set up from the entry of the subject to the answer and the countless episodes that take place within each work of art. Song of Schopsko is just one piece of eastern European music that presents the imitation between voices. The fugue in the Middle Ages referred to any canon style music but by the Renaissance it was shifted to specifically denote imitative works. Johann Sebastian Bach is said to have taken the fugue to its pinnacle saying to have shaped his works after Johann Jakob Froberger,Johann Pachelbel, GirolamoFrescobaldi, and DieterichBuxtehude. Dietrich Buxtehude is said to have had lasting impa ct on the works of Bach. Buxtehude himself was born in Sweden so his musical works were influenced by his upbringing in Eastern Europe. Due to influences of Bach and his predecessors it can be easily seen how the fugue was drawn from eastern European music and was then developed into the way it is seen today.

A Comparison of Two Versions of The Big Sleep Essay -- Big Sleep Essay

A Comparison of Two Versions of  The Big Sleep The Production Code attempted to censor sex and violence in film of the 1930's and 40's. Instead of impairing, it encouraged directors to use artistic ideas and integrity to surpass the viewers' expectations -- actively involving them in the film despite Hollywood's censorship. Howard Hawks is one such director who used the restrictions of the Production Code to his advantage. His screen adaptation of the Raymond Chandler novel The Big Sleep portrays the same amount of sexuality and violence apparent in the written word, using a distinctly subtle style, which develops broader themes. Comparisons with the extremely dull 70's remake by Michael Winner further suggest the superiority of Hawks' film noir. While Hawks masterfully creates an original world of sexuality and suspense, Winner unsuccessfully focuses on violent and sexual images in a vain attempt at filmmaking. There is not a trace of nudity in Hawks' The Big Sleep, yet it thrives on sex. The viewer will not catch a glimpse of a buttock, nipple nor a whole breast. This scarcity of skin is attributed to the superb screenplay writers Leigh Brackett, William Faulkner and Jules Furthman. They depict a charming Marlowe, played by Humphrey Bogart, interacting with various frisky femmes exhibiting innuendo that brilliantly illuminates the screen. Marlowe and the Acme Bookstore clerk flirt with an elegance even the slyest viewer would envy. The scholastic seductress flashes her beautiful eyes at him saying, "You begin to interest me, vaguely." Bogie's response -- "I'm a private dick on a case." With a loud, tumultuous clap of thunder, the audience sits bolt upright, anticipating the sultry shenanigans to ... ...blood trickles down their faces. There is no cohesion between the death scenes; Eddie Mars does not die in this version, so there is no build up or statement made. At a first glance, it is obvious that the two films, with 32 years between them, are quite different in style and theme. No matter when the film is viewed, Howard Hawks' film engages the audience presenting interesting themes in a sleek, stylistic fashion. His version may contain a limited amount of bare skin and violence, but proves that these inclusions are unnecessary if the film has voice and direction. To Winner, there is no direction or voice. He makes a hollow shell of a film extracting Chandler's exact scenes, harnessing the nudity and violence instead of the deeper themes that stand out in Hawks'. Works Consulted: Chandler, Raymond. The Big Sleep. New York: Random House, 1939.

Counselors as Companions and Ethics in Human Services Essay

Some of the things I believe that the counselor has learned from Steve are, it taught the counselor that you cannot help a person on their own life path. Only they can find their way. You just have to follow them and be supportive in the situation and on the path they choose. Some people may try to take the easy way out of everything. The counselor learned that you need to help them to take the long road, even though it may be harder and more complicated, sometimes it is the long road that gives you the better outcome in life and other journeys you may decide to take throughout your life. The counselor learned that a person cannot be guided on a deeply personal journey. You cannot know another’s personal destination. You have to let the person find their own way. You be there travel companion and be there when they need a little help continuing. Some of the counselor’s behaviors that may change as a result of working with Steve are, the counselor will now be able to help a person that is on a difficult journey to better their life. The counselor will be able to help them find their own way instead of trying to guide them down a path. The counselor will be able to teach someone that even though the short easy road looks good, it usually doesn’t get you where you want to be in life. Sometimes you have to take the long and difficult road to get the results that you want. Taking the easy way through things doesn’t benefit you as much as taking the long road. The counselor will now be able to look at things through a different point of view. Instead of always looking through it as a guide, the counselor will now be able to look at it through a travel companions eyes, instead of telling them what they should do, will be able to help them decide what they want to do and what is right for them. Yes I think that most people you come into contact with change you in some way. When people come into your life, they come in for a reason. You have friends that come into your life, and they help you to make either the right decisions or wrong decisions in that part of your life. You will have some that will get you to try drugs or alcohol or stealing. You have to decide what is right for you. You see your friends getting into trouble and you know that is not what you want for yourself so you change who you are friends with and the way you look at life, and find new friends, and a new path to turn down. Every person that you come in contact with helps you in some way you just don’t realize it. You see a homeless person on the street you will do what you need to do so you do not end up like that person. You meet an executive or person that works in the field of study you are doing, you will study and try to do what you have too to make it to that point in your life. You will always try to do things to better yourself, especially when you see people doing exactly what it is that you want to do. You will always have that one person you look up to and want to be just like. Everyone that you meet will give you that little bit of something to strive for or strive against. Steve has changes as a result of this relationship because he has learned that not everyone is against him and what he wants to do with his life. He has learned that there are people that are willing to stand next to him on his long and difficult path. He now knows that no matter what life throws at him, if he tries hard enough he can accomplish anything he wants to. He has learned to never let anyone or anything tell him he can’t achieve whatever goal he is after. He is a very strong independent person, but sometimes he needs a little push to keep him going in the direction that he is already headed. Yes I believe Steve has benefited from this relationship. He gained a lot more self- esteem than what he had to begin with. He has also learned to trust more people that are trying to help him with his journey. He got a lot out of the relationship, because not everyone is willing to help someone in his situation. So he has learned to trust and believe in more people. Statement 9: Human service professionals recognize and build on the clients strengths. In this situation the counselor recognized and built on the clients weaknesses. The client wanted to use his weaknesses to help him become a better person. Steve didn’t want to overlook his weaknesses and or disabilities. He used those weaknesses and turned them into strengths. I feel that was not the normal thing to do, but in this situation it was the right thing to do. I will resolve this by showing myself that. It is important to follow ethical standards because it is to ensure that you are not over stepping your boundaries as a health care professional. If you overstep your boundaries, you may end up with a law suit. It is best to follow them even though they are not laws.

Police Brutality, Have Times Really Changed Essay

The history of Police Brutality for minorities; especially people of color has left America wondering have times changed. Police brutality has deemed the opportunity for socioeconomic advancement or access to good and services for many Black/African Americans dating back as far as 1955. The system of Police brutality has affected many realms of society for minorities’ employment and family life. After some scholarly research, police brutality is still prevalent in the Black/African American community; moreover, it comes in many different forms and fashions. Police brutality is the use of excessive and/or unnecessary force by police when dealing with civilians. Excessive use of force is a means of force well beyond what would be necessary in order to handle a situation. This research seeks to understand the history of police brutality and how it continues to be prevalent; if not, more prevalent in presently than in the past. The history of police brutality dates back to slavery, encompasses the civil rights movement, and defines the growing accounts of modern situation in which Blacks/African Americans have been treated wrong by law enforcement. Elijah Anderson (2000) claims, â€Å"the idea of the race man goes back to the segregated Black/African American community, in fact all the way back to slaver† (Elijah Anderson, 2). Modern leaders like Jesse Jackson could be viewed as a race man; meaning, his help is deeply imbedded when he feels the Black/African American community has been treated unjust. As a leaders of the Black/African American community, there is always a time to become actively involved in the community, especial pertaining to police brutality. Secondly, Emmett Till is another example of police brutality, but in another form. Note, Emmett Till was not beaten by the police; however, his brutal beaten came from a group of white men in Money, Mississippi. I define this travesty as police brutality due to the milestone of social inequality that police brutality has fed off of. Bob Blauner (1992) reveals, â€Å"Chicagoan Emmett Till in Mississippi has been awakening to the end of social equality (Bob Blauner, 1). Instances such as the brutal killing of Emmett Till led to the civil rights movement. The civil rights movement was geared toward  helping not only Blacks/African American community, but helping America dismantle discrimination, segregation, lynching, double standards of laws and rules, police brutality and overall equality. The civil rights movement was filled with many acts of police brutality. For instance, a woman in Riverside, California was shot several times by law enforcement officers. They claim they were threaten by her, but had no idea this woman was engulfed in a diabetic coma. Legalized Cop Violence (1999) shares, â€Å"Dontae Dawson was sitting in his car and was ordered to raise his hands, when he did he fatally shot and killed the officer claims he thought the young man had a gun† The New York News, 12). The civil rights era proved that law enforcement officers did not serve the poor, the powerless or the un-influential. The legalized violence that was committed throughout the civil rights era has drastically changed; however, police brutality is still presently evident. For instance, officers of the law are servants of the state. They hold deeply to the interest of capital, wealth, and government to corporate figures. Currently, Black/African American leaders are still dealing with the vicious killing of two youth. These two particular situations has rocked the nation. First, Trayvon Martin, who was seventeen years old was walking from a community store in Sanford, Florida and was shoot to death at close range. No, he was not shot by the police; moreover, this situation has ignited once again racial inequality which is no stranger to police brutality. Although Trayvon Martin’s assassin was found not guilty, laws in the State of Florida allows citizens to stand they ground if they feel threaten. The 2014 State Statues of Florida 76.013 reveals, â€Å"home protection; use or threatened use of deadly force; presumption of fear of death or great bodily harm† is permitted. Despite the important racial progresss our society has made since Emmett Till’s death, from the civil rights era, to present increase of police brutality has still left the Black/African American community in shadows of segregation. The second most recent shooting of teenager Michael Brown has left citizens in ongoing battles with law enforcement officers of Ferguson, Missouri. New Statement (2014) reports, Missouri police similarly attempted to retain control of the narrative, claiming Brown had stolen cigars, and then paying for them, and then claiming he was a bad child and attacked the officer who shot him† (New Statement, 21). Brown autopsy reveals he was gun less and shot six  times. Police brutality is not solely about Ferguson, Emmett Till, or the civil rights movement, but it is simply about the history of capitalism and police brutality in America and having many forms of it. Which leads us to the question has times really changed are is police brutality still very surreal. Granted we talked mostly about Emmet Till, Trayvon Martin Michael Brown, and the civil rights these are not the only men or eras in time where police brutality has and still to this day is taking place. A few others who have suffered and died from police brutality include: Ezzel Ford who was mentally disabled and John Crawford III who was playing with a toy gun in the toy section of Wal-Mart. I know there are more people and time eras that have faced police brutality but these are just a few that are having a major impact on the world as we see it today. Which rises brings us to the question is Police Brutality the problem or as we as African America/ Blacks causing the problems and then when police are called to settle or solve the problem we over react or act as if we have done nothing wrong. Some cases in which police were called to a scene and they were hurt or out in danger include in July of 1920 five police were called to a home in New York to settle a dispute between two brothers where in return all five of the cops were injured, another time is in September of 1991 when three of duty officers in the state of New York were in a argument with a 18year old who in return pulled out a box cutting razor knife slashing one of the officers. Now I am not saying that because of these incidents this gives cops a reason to act the way that they do, but my question again is are we as African Americans/Blacks completely innocent or do we sometimes react to situations when cops are just doing their jobs that make them feel threatened so they have to kill. Yet there are more and better ways to deal with situations. Just like we the people should not always resort to violence and killing and committing black on black or white on white crime police need to and should follow the same rules of the world. Every man woman boy and girl should be treated how they would want to be treated. I’m sure the way police treat African Americans/Blacks when we commit crimes is not how they would want their family and or friends to be treated. There are some people who think that the way to downgrade police brutality is to adopt more white ways specifically the white perspective and to manifest intensively. Granted this is true; however, I do believe that just like us African Americans can  sometimes over react and over step our boundaries, I believe that cops have a bad habit of doing this as well. Yes your job as a police officer is to protect and serve the communities that you are in but moreover we are all humans and at this day in age no one is better than the next person no matter what race ethnicity sex or community you live in we are all said to be treated equal but are we treated as equals? If we were would there be so much police brutality and hostility toward police. Since the Trayvon Martin, and Michael Brown case I can see and understand why so many people have so much hate in their hearts. Although Trayvon Martin was not shot by a police officer he was shot by â€Å"a watchman of the area† Which in my opinion means if you are here to watch our neighborhood and protect us then he should of known who Trayvon was he should have been tolerant t figure out if Trayvon was really a threat to the neighborhood or if he was just â€Å"overreacting and looking for somebody to shot† and the same with Michael Brown who was actually shot by police men were the jumping the gun and did not take the time to find out if he really was stealing or if there was a miscommunication which I believe that’s what it was. Which leaves us to the question with the belief that slavery has ended and that all people are equal; then why is that police have and continue to get away with the brutally killing of African Americans. Works Cited Abu-Jamal, M. (1999). Legalized Cop Violence. New York: The New York Amsterdam News. Anderson, E. (2000). Beyond the Melting Pot Reconsidering. International Migration Review , 1-7. Anderson, E. (2014). Emmett and Trayvon. Washington: The Washington Monthly. Blauner, B. (1992). Talking Past Each Other: The Black and White Language of Race. The American Prospect , 1-6. Edwards, B. (2014). 4 Dead Unarmed Men and the Police: What You Need to Know. The Root. Penny, L. (2014, August 20). Welcome to America, Where Police Shoot an Unarmered Black MAn Six Times-and then call him a Villain. New Statesman , pp. 22-28. Tucker, W. (1993, January). Is Police Brutality the Problem? Commentary , pp. 23-28.