Jewish Sabbath Laws and the Practice of Jesus Thesis

Jewish Sabbath Laws and the Practice of Jesus - Thesis Example Evidently, Jesus found nothing unusual about partaking in the religious and cultural practices of his community, and what made the difference was that the strict legalistic interpretation and the practice of the law was not his prime objective when adhering to the Jewish law. Referring to the views of Giorgio Jossa, Stuart argues that there existed a distinct difference in Jesus’ teaching and it was partial regarding the practice of Sabbath. The author points out that Jesus’ views were distinct and unique from those of others in terms of keeping laws (145-147). Most people consider the Sabbath as the day on which Jews refrain from all sorts of work so as to comply with God’s law. However, in real sense (though often undermined), Sabbath is a day of great joy, celebration and rest rather than a day for learning the rules and keeping them. In other words, it is a day on which the Jews can relax being with family, study, pray, and reflect. The Hebrew word  Shabbat  actually means â€Å"rest†. According to Torah, which is the main source of information on Sabbath laws, the celebration of Sabbath intends the remembrance of two important events; the creation of the world and the Israel’s liberation from Egypt. These two events indeed are the central aspects of the Jewish belief, and according to the tradition, people ought to remember those events avoiding all kinds of usual activities. Admittedly, the day is more important than a normal holiday, and hence the restrictions on activities on the Sabbath are also a bit stricter. The prohibited activities include but not limited to cooking,  washing clothes, building, mending, writing, cutting, making a fire, fishing, climbing trees. Obviously, many of the listed activities need extensive interpretation to figure out what they actually stand for or to what extent they are applicable in the present day religious practices.

7 Extra Credit Assignments Assignment Example | Topics and Well Written Essays - 1750 words

7 Extra Credit Assignments - Assignment Example This, historians argue, represents a long awaited revenge of a step-son who had to suffer agregiously through his mother’s wickedness during her regency. But Dorman indicates that new evidence makes this narrative seem less likely – the fact, for instance, that the images of Hatshepsut did not begin to be excised from records until twenty years after her successor took over the throne. As Dorman states, revenge is unlikely to wait â€Å"two decades† before being enacted – so there must be something else going on here (Dorman). Furthermore, it appears that her take over of kingly duties was somewhat gradual – she began being portrayed as a religious leader then became more and more kingly as time progressed. She seemed to have simply pragmatically done what was needed in order to keep the dynastic line intact, which proved problematic for her son, who then had to erase her to legitimize his own claim. It is always interesting to compare works of art across cultures and time periods. There are several universal aspects of human life that, despite their universality, are dealt with very differently across cultures. One such universal aspect of life is death – everyone dies, and every culture has unique ways of dealing with this fact. It is thus very interesting to compare Pericles’ Funeral Oration with Rogier van der Wyden’s Decent from the Cross, because they show two distinct but similar reactions to death. These two works show very different kinds of death – Pericles’ oration talks about the deaths of many in a recent war, while Decent shows the immediate aftermath of a death of a religious leader. One of the most interesting things about this is that both works show very strongly gendered reactions to death. Pericles spends most of his oration honoring the dead, then closes with a call for men to live up to the example left for them by their departed

Is Street Art a Legitimate Art Form?

Is Street Art a Legitimate Art Form? Street art originated in the late 1960s with the advent of graffiti and tagging in Philadelphia and New York City (Walsh, 1996: 3). It has been developing ever since as new styles, forms and techniques are created and utilised by street artists (Walsh, 1996: 12). But street art is not generally viewed as art worthy of the status of works in a gallery or a museum, although as Walsh says, it is not strictly denied the status of genuine art because it utilises various aesthetic elements (1996). However, street art is often seen as radical or unconventional because of its location on walls and doors, on train carriages and in tunnels (Cooper et al, 1984: 15). These public spaces provide blank canvases for street artists, yet using them means that street art is almost always illegal viewed as a form of vandalism (Cooper et al, 1984; Chaflant and Prigoff, 1987: 42). While more legal spaces for street art have opened in recent years, there still remains the question: is it really art? In this paper I would like to explore this idea by making reference both to the history of graffiti and street art, the (il)legalities surrounding it, the ideas expressed through it and the ways in which the aesthetics created by some street artists make their work undeniably art. Street art as vandalism Id like to explore some of the oppositions to street art, to understand why street artists are vilified and their work denied the status of art. Walsh argues that the only reason why this occurs is because of the location of street art (1996: 2-3). He strongly believes that street art cannot be disregarded as a criminal act simply because it is not presented in a conventional manner, that is, framed and placed in a museum or gallery (1996: 3). I agree with Walsh, and believe that while street art may be unsolicited, and sometimes termed vandalism, that this does not meant it is not art. Nonetheless, the illegality of street art has stood in the way of it becoming recognised as a legitimate art form. As Ferrell explains, there are an impressive array of control technologies and techniques aligned against [street art], including a sort of public surveillance of street artists by concerned citizens who have been led to believe that street art is criminal (2004: 35). Ferrell cites exampl es from the United States in which antigraffiti campaigners have proposed punishments for street artists, including: a bill requiring that kids convicted of writing graffiti be publicly paddled à ¢Ã¢â€š ¬Ã‚ ¦ public caning à ¢Ã¢â€š ¬Ã‚ ¦ suggestions of lopping of hands à ¢Ã¢â€š ¬Ã‚ ¦ and publicly spray-painting [street artists] genitals (2004: 36). Understanding these angry sentiments means understanding why street artists are vilified. This also means recognising the terms street art and graffiti as having two different connotations. Street art has in recent years been seen as something with intrinsic value, with artist Banksy earning large sums of money for his wall stencils, and street art in Melbourne, for example, being recognised as part of the citys heritage and culture. However the term graffiti is still linked to the notion of criminal behaviour, and anti-graffiti organisations such as Removal of Graffiti Everywhere (RAGE) are committed to making street art in all forms illegal. Both Walsh and Ferrell argue that graffitis negative associations are due to its links with tagging, a style of graffiti done very fast, within a few seconds with the aim that his or her tag be seen by as many people as possible (Walsh, 1996: 12). But Cooper et al argue that tagging is in a different category to other forms of graffiti because it does not have the same aesthetic qualities (1984: 15). It is, in their words scribble (1984: 15). Here therefore I would like to make a distinction between graffiti as street art and graffiti as tagging. I agree with Cooper et al (1984) that tagging does not hold the same aesthetic or expressive qualities as other forms of street art such as stencilling or graffiti murals. But what I find interesting about tagging is the fact that it involves anonymity and an alias which gives the writer à ¢Ã¢â€š ¬Ã‚ ¦ a new identity (Walsh, 1996: 12). This idea I would like to explore further with reference to street arts illegality. Anonymity, resistance and historic significance Like taggers, acclaimed stencil artist Banksy does not reveal his identity to the public. This reinforces the idea that there is something even about his widely celebrated form of street art that is illicit. Similar is Melbourne street artist Deb, who goes only by nickname and is hard to track down to a name or place. In fact many street artists use either aliases or nicknames that ensure them privacy and no attention from lawmakers. The anonymity of street artists once again goes back to the beginnings of graffiti writing in the 1960s, when gang members and other individuals graffitied and tagged urban spaces as a means of self-expression. Walsh argues that the monikers adopted by graffiti artists at the time worked both to allow the individual to remain anonymous, but also to provide him or her with a means to express outrage and resistance through a persona (1996: 122). Ferrell agrees with Walshs idea that street art is a form of resistance, stating that such artists employ partic ular forms of graffiti as a means of resisting particular constellations of legal, political, and religious authority (2004: 34). I would like to consider the idea of street art as resistance as the first part of my argument for street art as a valid artform. As a form of self expression, street art is a creative method of communicating with the general public, in a forum much more open than an art gallery. Street art communicates the artists identity and his or her ideas, and because it is visual, it appeals to people regardless of their cultural, lingual, or racial differences (Cooper and Chalfant, 1984: 66-67). Walsh notes that street artists see their art as a rebellion against a repressive political and economic order: against established art markets or gallery systems, against Western ideas of capitalism and against ideas about private property (1996: 47). What comes out of Walshs analysis is that street artists are doing what all other great art movements have done before them rebelling against established ideas and mores about what art should be, and using the power of self-expression to appeal to cert ain audiences. In this way, street artists can be compared to groups such as the Fauves, the Futurists or the Impressionists, breaking from tradition and forging new ground in the world of art. According to Walsh, such aspects of street art make it important as an art form not only for its rebellion against art traditions, but those of politics and the state (1996: 49-50). This also fits into Camnitzers argument that art should be recognised as a universal set of skills and values within which everybody has freedom of expression, showing how art as a form of resistance works: to perturb society and achieve results similar to those of political actions. But distinct from political actions à ¢Ã¢â€š ¬Ã‚ ¦ art should shape culture on a deeper level and have a more long-lasting impact (1994: 38). Arguably, street art works to shape culture through resistance and rebellion while also influencing and perturbing society because of its ability to straddle the line between vandalism and art. Because street art is unique both due to its location and often its themes, it has the potential to influence the viewer and create change. As Williamson argues, it is the resistive power of street art that makes it important because it allows for the expression of ideas outside hegemonic norms (2004). She gives the example of street art in South Africa during apartheid which was the means for individuals to speak out against oppression, thus showing that popular culture resistance has a vital role in the life of the community and the struggle for freedom (2004: 8) Following Spitz I would also argue that street art is important as an art form because it represents history through its acts of resistance (1991: 17). As Ferrell discusses, the fact that places like the Berlin Wall were decorated with images representing hope and freedom, and graffiti that denounced the separation of East and West Germany shows just how much street art can act as a symbol of the times (2004: 34). This makes me think of works such as Goyas Guernica a mural not unlike some of those on the Berlin Wall, that shows the horrors of war and suffering. If we are to think about street art as representative of such historic and often horrific moments, then it is hard to denounce it as vandalism. Aesthetics of street art While I have argued that the expressive, resistive qualities of street art are undeniable, analysing the aesthetic qualities also show that street art is a viable artform. The production of street art requires established techniques and styles, most particularly in the use of spraypaint. Spraypaint is used in various ways for different artistic effects. As Walsh explains, street art developed over the years from tagging to established graffiti practices such as wildstyle, an integral, flowing piece of art (1996: 61). In more recent years the advent of stencilling has introduced a new technique into street art which requires artists to learn different effective ways of expressing their ideas (Melbourne Street Art, 2010). The techniques learnt add to the aesthetic qualities of street art and therefore show how image is linked to insight, which Spitz argues is of central significance to considering something art (2004). This is because emotional and intellectual responses to art cause a transfer of meaning between the artists intentions and the image he or she produces (1991: 2). The completion of street art involves imagination, planning, and effort, and is therefore similar to the execution of a more traditional form of art like a painting. The street artists must first do a sketch, then plan out characters and select colours. Next, the artist selects the surface on which her or she will work and creates a preliminary outline. If it is a stencil, the artist will draw the outline onto thick film and cut it out. Colours and ornamentation can then be applied using spray paint. Walsh argues that the completed product can be analysed according to the elements of aesthetic style: line, colour, composition, balance, tine and harmony (1996: 81-86). The structures and characters in the work can be read as a narrative, and the artists intentions communicated to the viewer (Walsh, 1996: 86). I would also argue that street art also improves areas that would otherwise be considered ugly, like abandoned buildings or industrial areas. One only needs to look at all of the street art in Melbournes colourful lanes to see how a place that could otherwise be an eyesore is made beautiful through street art. The impermanence of street art It is interesting to consider Walshs ideas about the impermanence of street art as a unique artistic factor. He argues that because of its quick removal from surfaces by councils and other clean up services that street art needs to be appreciated as fleeting, especially as: A piece which might be sixty feet long, twelve feet high, and take twenty to thirty cans of paint and at least eight hours to produce might be gone in a matter of minutes (1996: 108). In that sense, it is understandable why galleries such as Sydneys May Lane and Melbournes Graffiti Management Plan work to protect street art from being obliterated. May Lane provides removable outdoor panels on which street artists can work, and which are stored for later exhibition, while the Graffiti Management Plan works to protect laneway graffiti. Although they failed in April 2010 by accidentally painting over a Banksy work in Hosier Lane, the Graffiti Management Plan protected another Banksy work by placing it under perspex to remain forever as a street artwork. And as more and more tourists flock to Melbourne specifically to see street art, the lanes of Melbourne are taking on the form of outdoor galleries perhaps not that unlike traditional exhibition spaces, yet more public and therefore accessible. Conclusion In this paper I have argued that street art in both stencil and graffiti forms should be considered viable forms of art. I have shown that while the location of these works might make them unconventional, and indeed deemed vandalism in many cases, that they are nevertheless important both as an expression of individual identity and as a mode of resistance. Like all art, they act to reflect the artists ideas and the historical period in which he or she lived. They provide a break from tradition and they inspire the viewer, while also being aesthetically pleasing. While I differentiate some forms of street art from others, and show that tagging is perhaps less likely to be considered art than stencilling or mural graffiti, I believe that street art generally should be recognised as an important part of our society and an expression of culture and heritage.

Struggles for Equality under the AIAW/NCAA Merger :: Women Athelets Sports

Struggles for Equality under the AIAW/NCAA Merger In any movement by a marginalized social group to gain equal rights and recognition, there are always several factions with differing opinions of the best way to achieve the common goal. There are those who choose to work within the rules of the system as is it is already structured by the dominant social group, and there are those who choose to create their own branch, rewriting the rules to represent their own philosophies. Historically, women's athletics have been led by the second camp; by women who demanded a philosophy of sport with a vision unique from that of men?s athletics. Women's athletics remained, much like women as a social group, in its own separate sphere, leading its own organizational structure. But as the women's sphere was de-mystified (Spears, 1978) in the mid twentieth century, autonomous organizational structures were absorbed under the umbrella of formerly exclusively male athletics. This is the case as illustrated by the merger of the AIAW and the NCAA. On the surface, it may appear that full official inclusion of women's athletics into the structure of the patriarchy would bring primarily positive results such as increased funding and greater access to facilities. However, the present, past, and future ramifications of the merger are tangled in a web of political and social significance that is not so simple to label as all positive or all negative for the advancement of women's athletics and Feminism at large. I will briefly trace the history that led to the creation of the Association of Intercollegiate Athletics for Women (AIAW) as described by Joan Hult in 'The Story of Women's Athletics: Manipulating a Dream 1890-1985,' and then examine some of the pros and cons of the AIAW's 1981 merger with the National Collegiate Athletic Association (NCAA). Hult explains that in the era between 1890-1920, women physical educators were a tightly knit, dedicated group committed to a tradition of restricted competition, self-governance, and a feminine approach to individual and team sports. They believed that all girls and women should have the opportunity to participate and enjoy sport, not only the talented elite as in the competition-driven male philosophical structure (87). Play-days and sport-days with emphasis on team building games were a means of perpetuating an image of an ideal American female athlete: feminine, beautiful, strong, yet always 'aware of her delicate reproductive system' (89). Seventy-five years later, though much had changed, the AIAW still adhered to a more fundamental interpretation of the original philosophy of women's athletics. Struggles for Equality under the AIAW/NCAA Merger :: Women Athelets Sports Struggles for Equality under the AIAW/NCAA Merger In any movement by a marginalized social group to gain equal rights and recognition, there are always several factions with differing opinions of the best way to achieve the common goal. There are those who choose to work within the rules of the system as is it is already structured by the dominant social group, and there are those who choose to create their own branch, rewriting the rules to represent their own philosophies. Historically, women's athletics have been led by the second camp; by women who demanded a philosophy of sport with a vision unique from that of men?s athletics. Women's athletics remained, much like women as a social group, in its own separate sphere, leading its own organizational structure. But as the women's sphere was de-mystified (Spears, 1978) in the mid twentieth century, autonomous organizational structures were absorbed under the umbrella of formerly exclusively male athletics. This is the case as illustrated by the merger of the AIAW and the NCAA. On the surface, it may appear that full official inclusion of women's athletics into the structure of the patriarchy would bring primarily positive results such as increased funding and greater access to facilities. However, the present, past, and future ramifications of the merger are tangled in a web of political and social significance that is not so simple to label as all positive or all negative for the advancement of women's athletics and Feminism at large. I will briefly trace the history that led to the creation of the Association of Intercollegiate Athletics for Women (AIAW) as described by Joan Hult in 'The Story of Women's Athletics: Manipulating a Dream 1890-1985,' and then examine some of the pros and cons of the AIAW's 1981 merger with the National Collegiate Athletic Association (NCAA). Hult explains that in the era between 1890-1920, women physical educators were a tightly knit, dedicated group committed to a tradition of restricted competition, self-governance, and a feminine approach to individual and team sports. They believed that all girls and women should have the opportunity to participate and enjoy sport, not only the talented elite as in the competition-driven male philosophical structure (87). Play-days and sport-days with emphasis on team building games were a means of perpetuating an image of an ideal American female athlete: feminine, beautiful, strong, yet always 'aware of her delicate reproductive system' (89). Seventy-five years later, though much had changed, the AIAW still adhered to a more fundamental interpretation of the original philosophy of women's athletics.

Secretary Maria and the OSI Network Model

Secretary Maria and the OSI Network Model Mr. Boss meets Maria on the 7th floor of the main building headquarters. He gives Maria a secret message that must get to the US Embassy across town. Maria proceeds to the 6th floor where the message is translated into an intermediary language, encrypted and miniaturized. Maria then takes the elevator to the 5th floor where she checks the message to be sure it is all there and puts some checkpoints in the message so her counterpart at the US Embassy can be sure she got the whole message.On the 4th floor the message is analyzes to see if it can be combined with some other small messages that need to go to the US Embassy, also if the message was very large, it might be broken into several smaller packages so other secretaries can take it and have it reassembled on the other end. The 3rd floor personnel check the address on the message, determine who the addressee is and advise Maria of the fastest route to the Embassy. On the 2nd floor the mess age is put into a special courier pouch (packet). It contains the message, sender and destination ID, and warns the recipient if other pieces are coming.Maria then proceeds to the 1st floor where Mr. Boss has leased a limo for the trip. Maria departs for the US Embassy with the secret packet in hand. On the other end at the US Embassy the process is reversed. Maria proceeds from floor to floor where the message is decoded. The US Ambassador is very grateful, saying â€Å"Maria, please tell Mr. Boss I’ll be glad to meet him for dinner tonight†. Of course there are many ways this could be displayed but as long as the steps outlined are maintained in this order the OSI layers are explained very clearly.

Non-English speaking community Essay

  The acronym ESL stands for English as a Second Language and it is a common term among Non-English speaking community. Most people who do not know how to speak the English language attend ESL classes so as to gain adequate knowledge. What is experienced most times though is that these categories of Non-English speaking citizens find it hard to cope with various challenges that come their way. Learning the English language needs a lot of rules to be followed and only people who are interested and patient enough will be able to learn fast. In this essay we shall be taking a look at how cultural differences and language variety pose a threat to ESL classes, we shall also highlight how a teacher can identify these problems and overcome them. Finally we shall take a look at the positive effects of linguistic and cultural differences on ESL classes. â€Å"There are many ESL classrooms and cultural sensitivity issues that teachers must address to ensure they are delivering language instruction without prejudice, discrimination, or bias. By understanding the potential problems with cultural sensitivity, teachers can avoid creating an English-centric classroom while increasing their students’ language skills† (ESL Classroom and Cultural Sensitivity , 1996-2010). As a teacher in the ESL class a lot of factors need to be put into consideration in order to reduce misunderstanding and disagreements in the class. Knowing so well that a lot of these students come from various parts of the world, with different languages and cultural backgrounds. These are major factors that affect the level and speed of assimilation of the students in class. The ESL classes teach the students all aspect of English language, such as the intonation and accent, pronunciation, verbal usage, grammatical structures and spelling. These are key areas where the non English speaking students face major problems. DIFFICULTIES POSED BY CULTURAL AND LINGUISTIC BACKGROUND Communication is an essential part of life and clarity is very important. When two people are communicating, the message must be clearly understood. When a listener has various contrasting meanings for what has been spoken then there is a major problem. However, there are various setbacks to effective communication in an ESL class, to which variety of cultural and linguistic backgrounds are amongst. How does cultural background affect the communication in ESL class? Culture is the way of life of an individual and it plays a vital role in his/her overall attitude to life and learning. In an ESL class a teacher will encounter variety of learning attitudes amongst students from other cultural background which affects their learning. â€Å"In many non-English speaking cultures, students are brought up with more passive behaviours when interacting with adults. An ESL student may be less willing to approach a teacher for extra help or tutoring† (ESL Classroom and Cultural Sensitivity , 1996-2010). Take for example the African culture where children are usually flogged and abused by their own parents or guardians. These students are usually scared in the classroom and will hardly ask questions in for the fear of being flogged. In the African culture, beating up the child for wrong doing is rampant and this has had an adverse effect on the development of the child. This same fear for their parents is transferred to their teachers. They therefore have little or no participation in class and consider who do so as being forward. â€Å"Stereotyping can have intense negative effects, especially when educators or managers make fewer attempts to involve those of other cultures because they have been taught not to expect participation† (Billikopf, 2009). Taking a look at the difficulties caused by variety in cultural background from another angle, one can discuss how the meaning that certain gestures and statements have to different cultures. A teacher must be conscious about what he or she says in an ESL class, because what he or she thinks might not be offensive to an average American might be a taboo for other cultures. Some certain cultures frown more at abuses more than others. There are certain words that some other cultures will not embrace in a public arena such as classroom. ‘You must have being very mad when you realised that the answer to the question was not farfetched’. To a non-English speaking fellow, the word ‘mad in the sentence is literarily lifted from the sentence to mean an abuse, whereas someone who is from an English speaking nation knows exactly what the statement means and doesn’t feel offended by it. â€Å"One of the biggest problems ESL teachers face is that one ESL classroom may be filled with students from many nations, even if, for example, they are all Spanish-speaking countries† (ESL Classroom and Cultural Sensitivity , 1996-2010). However, variety in linguistic background can also pose a major barrier to effective communication in English as a second language class. English is a very complex language and it takes time to master. A student from a different linguistic background, has his own idea of sentence structures, writing approach and original accent which. To adjust to the new way of communication could be very difficult because he will find the English language a different ball game to the ones he has been used to for year. When you begin to learn the English language as a non-English speaking student, what you first find confusing is the sentence structure. My little cousin once reported her elder sister to her dad, saying, ‘Daddy, my dress Fadeke wear’. This sentence is definitely faulty in structure, but when I thought of it closely I realized that she literarily translated indigenous language to English following the same structure, not realizing that the English language has a very different sentence structure. Another major concern is the accent of a non-English speaking student. When a Hispanic student speaks English it is difficult to understand because the accent used when talking. You will hardly pick a meaning from what he says not because of the sentence structure or the grammatical usage but the accent. The language one speaks usually affects the accent of the person which is why most Latinos find it hard to pronounce certain letters. You will also notice the trace of their original language when they speak the English language. Finally, learning disabilities can pose a great danger when learning the English language by an ESL student. Dyslexia is a popular disability that makes an ESL student forget what has been taught easily. â€Å"Learning Disability is the term currently used to describe a handicap that interferes with someone’s ability to store, process or produce information. Such disabilities affect both children and adults† (Root, April, 1994). HOW CAN THESE PROBLEMS BE RECOGNIZED? Spotting out the effect of linguistic variety in the ESL requires experience from the part of a teacher. To be able to recognize these difficulties in communication, certain signs and gestures are to be taken note of. These difficulties could be as a result of the two factors highlighted above. These are variety in Linguistics and Cultures. Participation in class is a major clue. Any student not seen participating in class shows a good sign of difficulties in class. Generally, students who are from the English culture are known to be very inquisitive in class and wanting to learn more. They are believed to ask questions in class while the other students from a different culture are less interested. To overcome this, a teacher must be willing to be able to carry them all along in classroom. In order not to be considered bias in class the teacher should make sure to avoid focussing attention on the English speaking students alone. â€Å"If the student lacks the proficiency to participate in the class, another arrangement should be made for the student. It may be possible to place the student in another class more appropriate for their level of proficiency. If this is not a possibility, the teacher should put the ESL student on a syllabus geared to his or her level† (Steenbergen). Another method is to give assignments to the ESL students to assess if they understand what is being taught in the class. You cannot force a student to ask questions in class. Rather, as a teacher, you can only encourage them to be more participating. Most times, these ESL students are less confident about the way they speak the English language and would prefer not to talk in the class than being a source of mockery from the rest of the students. â€Å"As the student in this scenario, you fear the reaction of the students and the teacher because you are unsure of your language. You feel a deep insecurity knowing that your language skills are inferior to those of your peers† (Steenbergen). Another sign of difficulties in communication is the inability to pronounce word spell words very well in their writing and also bad language structure. The English language is one of the most difficult languages to learn and this is as a result of the complexity in details that need to be followed. Lexis structures, spelling, verbal usage and concord. When you notice that a student is literarily translating his/her language to the English Language, not taking cognisance of the structure involved then probably the fellow is having this problem due to linguistic variety. A perfect way to increase the rate at which a student learns the English language is through regular reading of books. â€Å"Every day in school and at home ESL students have many different texts to read. It is through reading that they acquire much of their knowledge and understanding of the different subject areas, and reading often forms the basis of follow-up work such as class discussions or homework questions† (Shoebottom, 1996-2007). Educators know that the best way to subconsciously inscribe the English language into the hearts of the ESL students is to make them imbibe the habit of reading. When you as an ESL student read text regularly, you will learn the English language naturally. Through regular reading, an ESL student naturally masters the grammatical structures, verbal usage, correct spelling of words and many more concepts necessary to be learnt. ESL students also find it hard to relate to some references that are peculiar to the American history when learning and speaking the English language. Reference such as 9-11 refers to the Terrorist attack on the USA floor and someone from another cultural background might not understand it when spoken in class. â€Å"Other cultural references which might come up in text or conversation would be things like Christopher Columbus, George Washington, Sesame Street, Thanksgiving, Halloween, and other aspects. The teaching of such cultural factors is not intended to be a means of promoting mainstream American culture and values† (Kyprianides). POSITIVE CONSEQUENCES IN AN ESL CLASSROOM The major positivity in an ESL classroom is the environment they create. Most of the students are from various countries of different cultural background. This creates an avenue for all the students to learn about various cultures from each other. The advantage is that it makes the English speaking cultural students to see the beauty in other people’s culture. It gives the students a wider knowledge base about other students’ culture and creates more understanding amongst them. â€Å"ESL students can greatly benefit the classroom. They bring linguistic diversity and a richer cultural environment to the class. Teachers must be sure to avoid locking ESL students into an ethnic or cultural stereotype† (Steenbergen). Bibliography Billikopf, G. (2009, June 1). Cultural Differences? Or, are we really that different? . Retrieved May 7, 2010, from http://www. gebillikopf@ucdavis. edu ESL Classroom and Cultural Sensitivity . (1996-2010). Retrieved May 7, 2010, from Your Dictionary: www. yourdictionary. com Kyprianides, R. (n. d. ). Socio-cultural Competence in ESL Education. Retrieved May 9, 2010, from Site Maker- University of Michigan: http://www. sitemaker. umich. edu Root, C. (April, 1994). A Guide to Learning Disabilities for the ESL Classroom Practitioner. Teaching English as a Second or Foreign Language , Vol. 1. No. 1. Shoebottom, P. (1996-2007). Helping ESL students understand written texts. Retrieved May 9, 2010, from A Guide to Learning English: http://www. esl. fis. edu Steenbergen, L. ESL Learners in the Writing Classroom.