What Does The Student Show How Understanding Of Cultural And Contextual Elements Was Developed Through The Interactive Oral?

The cultural interview is to invite someone different culture than themselves and to prepare questions to talk about the differences and similarities between the two participants. The person I chose to interview is my boyfriend David. The reason why I chose to interview him because of his status he is an immigrant in this country. I would like to know the consequences of being illegal immigrant and what's the reason behind he came to this country. I told him I was going to interview him but he didn’t know I was going to ask him questions about his status which was for me was a bit frightening because I know many people don’t like talking about their status and now more because of our president. David came to my house on November 1st around 5 o’clock while waiting for him I made a cup of coffee to take to the park. Once he came to my house we walk to my neighborhood park to do the interview. We sat down at a bench and he thought I was going to ask him basic questions tell me about yourself but never knew they were going to be deeply personal questions.

Use this section to provide your reader with brief information on the three concepts you selected (no need to explain the concepts in their entirety), why you selected these particular concepts, background information about the culture with which you identify, information about your interviewees and the culture with which they identify and anything that serves as introduction. This section should be detailed and brief – about ½ to ¾ of a full page.

Mrs. Evans learned about the cultural background of her students. How do you think this knowledge impacted her teaching?

Act II continues with Nora attempting to keep her secret loan and forgery unrevealed from Torvald, but her efforts are futile. In Act II Krogstad loses his job and writes a letter addressed to Torvald explaining the crime Nora committed. During this frightening night for Nora she must perform the Tarantella dance while also attempting to distract Torvald. The Tarantella is known as the dance that is supposed to rid the dancer of the bite of the tarantula. This dance can be seen as a symbolic

After reading the book to the children I will engage the students in a classroom discussion that aims to uncover what they might know about their own cultural background. Questions posed could include, “do you know where you were born or where your mum and dad were born”, “do you speak any other languages at home and what is that language, can you say something to us in your home language?”. These questions aim to uncover the diverse cultures within the classroom and by engaging in a group discussion the students learn about each other and learn that they all have different experiences and cultures. According to Fellows and Oakley (2014) reading stories to children provides the ideal context to develop oral language which can be further enhanced with educator led discussion (pg. 90).

Read carefully the following piece of text. What does it tell us about cross cultural encounters?

Student has effectively communicated the chosen 3 aspects of culture and their connection to the thesis through the creation of a formal outline.

The Tarantella is an Italian folk dance. The name “Tarantella” derives from the name of a poisonous spider; the Tarantula. When bitten, the venom will of the Tarantula makes the person move uncontrollably as if dancing. This movement believes to relieve the person from pain. Thus, dancing non-stop wards off the venom of the spider (Streetswing.com). The Tarantella dance relates to Nora as trying to rid herself of the pain and problems in her life. Additionally, Nora’s infuriating movements implies her suicidal intentions after the dance to save her husband’s reputation. Likewise, the Tarantella signifies the gruesome climax of Nora’s doll life. This dance reveals the transformation of Nora from an innocent woman

The assignment was about interviewing somebody, whose culture and background differ from mine. After conducting such interview, I decided to convert that interview to a narrative and well-written form, which will certainly shed light on miscellaneous aspects of Mr. K’s culture. Knowing more about someone’s culture will enhance my awareness about the diversity that exists on this planet. Therefore, I decided to conduct the interview with my friend, Mr. K, whom I know since I came to this University. I was hoping that I will be surprised by knowing a lot of things that I thought I knew them well.

In this case module I was asked to watch a video lecture and to review learning activity number one. I was then asked to answer and discuss four different question; from a cultural perspective, is it unusual that Grandmother Marietta is the

Nora and Krogstad’s first encounter in Act One of Henrik Ibsen’s A Doll’s House, is significant to the plot as the main source of conflict is revealed whilst the central theme of deceit is enhanced through the use of dramatic irony. Throughout their conversation, Ibsen uses language devices to explore the characterisation and parallels between Nora and Krogstad and to foreshadow and detail Nora’s awakening at the end of the play.

The Tarantella is a fast-paced folk dance which originated from Southern Italy. Ibsen uses the dance for heavy symbolism in the A Doll House, but the dance quite ironic as well. In one part when Nora is vehemently dancing the Tarantella, Torvald comments, “My dear darling Nora, you are dancing as if your life depended on it,” to which Nora says, “So it does” (Ibsen 58). Regrettably, Torvald does not catch on to the double meaning of Nora’s statement. Torvald may not see the fuss, but to Nora the Tarantella is the last nail holding the cracking foundation of their marriage. She wants perfection and to pretend to be the fragile doll one last time before the truth is revealed to Torvald. Before her whole life is turned upside down and reality finally hits her. Therefore, Ibsen uses dramatic irony with the dance to display the inevitable consequences of Nora’s lies and false identity as this flawless, innocent

Just as Nora evolves from the mini-Nora of act one to the super-Nora of act three, similarly the set of the play goes through a drastic evolution, from light to darkness, from paradise to prison until, by the end of the play, it has been ethically demolished. One could imagine the doll house set, when Nora slams the door, collapsing like a house of cards, to the collective gasp of relief from the audience. Looking at the set we see, that Ibsen makes use of a triad, "a room . two doors in the rear wall, the door on the left leads to Torvald’s study, and is opened and closed only when he chooses. It represents the sanctum sanctorum of male dominance and decision-making authority and security and his invisible presence behind that door is felt god like. Whenever he emerges from this door, it is always on his own terms, to direct and control events. The door to the right in the rear wall leads to the outside world. Only damaged people come through this door: Christine, Rank, Krogstad, all of whom have been variously hurt by the world outside. So this door represents the menacing reality of the outside world, its power to hurt but also, its power to force- to force one to grow up, to stop being a doll. There is another door, which leads to the nursery and bedroom. This is the world of sexual fantasy, of Nora performing childish roles of squirrel, lark and others to keep Torvald infatuated with her innocence. Here, one can clearly see that Ibsen draws a

     A Doll’s House, a play by Henrik Ibsen, tells the story of Nora, the wife of Torvald Helmer, who is an adult living as a child, kept as a doll by her husband. She is expected to be content and happy living in the world Torvald has created for her. By studying the play and comparing and contrasting the versions presented in the video and the live performance, one can analyze the different aspects of it.

The theme of power is expressed through the title of A Doll’s House, as when one plays with dolls he or she has complete control of what occurs. The relationship between a person and their doll is a direct act of subjugation, only the doll is not alive and has no choice in the matter. With the binary opposition of phylogeny versus misogyny present in the stage production, a question of the work is who is the one controlling the household. Ibsen had the character of Torvald believe he was in command of what occurred in the house; however he (Ibsen) provided more evidence that Nora was really the one who kept everything together. For example, Nora was speaking with Mrs. Linde that she obtained much needed money without consulting with Torvald first, as she lied to him saying it was given to them by her father. Mrs. Linde replied saying “a wife should not borrow without her husband’s consent” (Ibsen 88), meaning she had fallen into the belief that women are below men, which Ibsen is proved to be false in this play.