Role of the Midwife as an Educator

Role of the Midwife as an Educator The researcher has used the terms â€Å"tutor† and â€Å"midwife† in an interchangeable format. Midwifery is about far more than delivering babies. The skills that a midwife needs to carry out her job successfully are legion. In this essay we shall specifically consider the role of the midwife as an educator, and her ability to impart information successfully to a group in a planned parenting session. In order to do this successfully it is obviously important for the midwife (or tutor) to appreciate how adults learn optimally in a different way from children. In this essay we shall explore both the theoretical and practical principles which underpin the delivery of a successful course for prospective parents. We shall also consider the importance of course evaluation in the construction and presentation of future courses. It is important to appreciate that adults learn optimally in a different way to children. The dichotomy is often refered to as pedagogy and andragogy. The fundamental difference between the two is that pedagogy is essentially the process whereby the tutor instructs the students and andragogy is the process which involves more of an interaction between the two, with the tutor guiding the students. (Cervero, R. M et al 1999) In the prospective parenting classes clearly the group are likely to be mainly young adults (the researcher states that they are making a number of assumptions here) and an alternative name for andragogy is experiential learning. This involves the tutor drawing out various experiences that the group, collectively, have had and using them as a basis for discussion and communal learning. (Donaldson, J. F et al. 2000) One could reasonably assume that the participants in the group have not had previous direct experience of parenting, but this does not preclude this method of teaching in this circumstance. They certainly will have observed friends, family and others bringing up their children and of course will have their own experiences with their own upbringing which will have formed a number of their opinions, expectations and values. These can usefully be explored and brought out in discussion for the whole group to use as a learning experience. It is likely that a typical group will include participants from different social backgrounds, ethnic groups and classes. This is also a valuable asset which can be exploited for the benefit of all. Specific examples could be the breast feeding and weaning habits of different ethnic communities and how they differ from what is currently considered to be best practice. Clearly this type of learning is quite different from that which could be used for children (pedagogy) who have very little life experience to draw on. (Johnson-Bailey, J et al 1997) Obviously the midwife will have their own professional learning and agenda together with a vast wealth of practical experience. This should ideally be presented in a sensitive but authoritative way, so that the group can have the opportunity to discuss, evaluate and adopt those elements that they collectively feel are or value and importance to themselves. (Ross-Gordon, J. M et al 2002). Although adults will clearly need to assimilate information – as this is a basic definition of learning – they are far more amenable to techniques which involve self motivation and self-directed learning. (Sheared, V et al. 2001). In this context it is important that the midwife, in addition to simply acting as a tutor and resource, should also suggest other sources of information. Local libraries, NHS leaflets, Local Authority pamphlets and of course the Internet, are all valuable resource options that the prospective parents can access themselves. Part of the information providing responsibility incumbent on the midwife, is the generation of interest which will allow the group members to feel empowered to make further exploration of the area themselves. (EHC 1999) The concept of metacognition is also important in this area. Traditionally a midwife might expect to give a talk on various important points of parenting and the prospective parents would sit passively and absorb the elements that they felt were important to them. The talk would finish and the group would disperse. Metacognition is the ability of the student to appreciate the overall context and content of what they are learning about. This is primarily a two way interaction between student and tutor. (Smith, M. C et al. 1998). If the midwife is able to establish a dialogue between herself and the group it is easier to evaluate and assess the gaps in knowledge and then to suggest strategies for filling them. Equally, it is a valid strategy to establish where the gaps are and then to encourage the student to find the information for themselves in order to bring back to the group for discussion on the next occasion. (Titmus, C 1999). When the tutor is constructing the course, if the andragogical approach is chosen as the most appropriate then they should: Encourage the group members to participate and put forward their own life experiences as much as possible in order to utilise them as exploratory and discussion tools for the group as a whole. Demonstrate to the group how their collective life experiences can be adapted and utilised within the framework of the current discussion (after Merriam, S. B et al. 1999). This is a difficult topic since evaluation is ultimately the most appropriate tool to assess whether the particular course has been successful. There are basically three appropriate viewpoints of evaluation – whether the tutor feels that they have delivered the course successfully, whether the student feels that they have benefited from the course and whether an independent assessor would consider the course appropriate. (Vaske, J. M et al 2001). There is not space to fully appraise all of these eventualities, but clearly it is utterly appropriate to consider the student’s appreciation of the course, whether it fulfilled their expectations and needs together with an assessment of the various areas where they felt that the learning experience was either good or lacking. This is clearly vital, not only from the point of view of deciding whether it is appropriate to continue delivering the course as a public service, but possibly more importantly, to provide feedback to the tutor on just how their delivery was perceived and received. There is obviously no value in presenting a course which is neither appreciated nor useful to the recipients (Tice, E. T et al 1997). Conclusions It is clear that the presentation of a successful adult-orientated course is not just a matter of chance and an informed professional standing up and presenting a series of facts. It is obviously important to optimise the impact and usefulness of the effort involved with an appreciation of the theory and practice of adult learning. The involvement of the audience group, particularly with an invitation and an expectation to share and learn from their own collective experiences, is clearly an important learning tool and should be maximally exploited by the tutor. It is also important to the overall optimisation of the learning experience for the student, that the tutor should develop clear and concise learning objectives for the group and tailor the structure of the group to those objectives. Central to that process is the formulation of an appropriate learning plan, which, in this particular format does not necessarily have to be a formal written plan, but can take the form of either notes or a mentally organised format by the tutor. (Taylor, K et al 2000). Cervero, R. M., and Wilson, A. L. 1999 Beyond Learner-Centred Practice: Adult Education, Power, and Society. Journal for the Study of Adult Education 13, no. 2 (November 1999): 27-38. Donaldson, J. F.; Flannery, D. D.; and Ross-Gordon, J. M. 2000 A Triangulated Study Comparing Adult College Students Perceptions of Effective Teaching with Those of Traditional Students. Continuing Higher Education Review 57, no. 3 (Fall 2000): 147-165. EHC 1999 Effective Health Care. Getting evidence into practice. York: University of York, 1999. Johnson-Bailey, J., and Cervero, R. M. 1997 Beyond Facilitation in Adult Education: Power Dynamics in Teaching and Learning Practices. In Crossing Borders, Breaking Boundaries. Proceedings of the 27th Annual SCUTREA Conference, edited by P. Armstrong et al. London: Birkbeck College, 1997. (ED 409 438) Merriam, S. B., and Caffarella, R. S. 1999 Learning in Adulthood. A Comprehensive Guide. 2d ed. San Francisco, CA: Jossey-Bass, 1999. Ross-Gordon, J. M., ed. 2002 Contemporary Viewpoints on Teaching Adults Effectively. New Directions for Adult and Continuing Education no. 93. San Francisco: Jossey-Bass, Spring 2002. Sheared, V., and Sissel, P. A., eds. 2001 Making Space: Merging Theory and Practice in Adult Education. Westport, CT: Bergin Garvey, 2001. Smith, M. C., and Pourchot, T., eds. 1998 Adult Learning and Development. Perspectives from Educational Psychology. Mahwah, NJ: Erlbaum, 1998. Taylor, K.; Marienau, C.; and Fiddler, M. 2000 Developing Adult Learners. San Francisco, CA: Jossey-Bass, 2000. Tice, E. T. 1997 Educating Adults: A Matter of Balance. Adult Learning 9, no. 1 (Fall 1997): 18-21 Titmus, C. 1999 Concepts and Practices of Education and Adult Education: Obstacles to Lifelong Education and Lifelong Learning? International Journal of Lifelong Education 18, no. 5 (September-October 1999): 343-354. Vaske, J. M. 2001 Critical Thinking in Adult Education: An Elusive Quest for a Definition of the Field. Ed.D. dissertation, Drake University, 2001. ############################################################# Word count 1,611

James Wright’s A Blessing Essay

â€Å"A Blessing† by James Wright Just off the highway to Rochester, Minnesota, Twilight bounds softly forth on the grass. And the eyes of those two Indian ponies Darken with kindness. They have come gladly out of the willows To welcome my friend and me. We step over the barbed wire into the pasture Where they have been grazing all day, alone. They ripple tensely, they can hardly contain their happiness That we have come. They bow shyly as wet swans. They love each other. There is no loneliness like theirs. At home once more, They begin munching the young tufts of spring in the darkness. I would like to hold the slenderer one in my arms, For she has walked over to me And nuzzled my left hand. She is black and white, Her mane falls wild on her forehead, And the light breeze moves me to caress her long ear That is delicate as the skin over a girl’s wrist. Suddenly I realize That if I stepped out of my body I would break Into blossom. James Wright composes â€Å"A Blessing,† by introducing a narrator who recalls a memory about an experience he had with a friend on a trip around Rochester, Minnesota. On this trip, the narrator and his friend encounter two Indian ponies, one of which appears to make a pronounced impact on the narrator. Rather than describe what the scenery may look like or how his friend is feeling about the trip, the narrator instantly speaks of the ponies and continues to speak of them for the remainder of the poem. However, â€Å"A  Blessing† leaves many questions to be asked. Why does James Wright decide to only sex one of the two ponies his narrator encounters? Why does he fluctuate between the physical and the mental, which divides the themes in his poem? What does Wright try to accomplish by packing â€Å"A Blessing† with alliteration, assonance, and consonance? Is there any identity to be found within his carefully placed lines and what does the reader take away from t he varying tenses throughout Wright’s poem? Wright fills several lines of â€Å"A Blessing† with assonance to create varieties of structure for his poem. Wright believes that the moment between his narrator and the ponies is precious and delicate. Therefore, he used one stanza to craft his poem because he does not want to interrupt their meeting. If the poem would have been constructed into varying stanzas, the poem would be broken rather than one conscious thought or action. By keeping the poem as one stanza the narrator’s interaction with the ponies is untouched. It is kept whole and beautiful. The structure of the poem is a direct comparison to the spiritual relationship between the narrator and the ponies. Wright begins with this delicate theme with the soft â€Å"o† sound in â€Å"softly† and â€Å"ponies† in lines two and three. The soft sound connects softly and ponies and by doing so sets the scene for the reader that the kindness the ponies display to the narrator and his friend is the beginning of the impact they make on the narrator. Wright provides textual evidence of this compassion by telling the readers, â€Å"And the eyes of the two Indian ponies / Darken with kindness† (3-4). Wright continues with alliteration in lines five through eight with the â€Å"w† at the beginning of â€Å"willow,† â€Å"welcome,† â€Å"we,† â€Å"wire,† and â€Å"where.† When spoken aloud, the repetition of the â€Å"w† sounds like the snorting a horse makes, which can be displayed as a greeting towards the narrator and his friend. The alliteration continues in lines nine through twelve with repetition of the â€Å"th† sound in â€Å"they,† â€Å"that,† â€Å"there,† and â€Å"theirs.† The â€Å"th† sounds like the thumping on the ground of the pony’s hooves while they move towards the narrator. The movement of the ponies is a sign of openness and welcome. Nearing the end of the poem, Wright comes back to the â€Å"o† sound again in â€Å"forehead,† long,† and â€Å"over.† This sound softens the moment between the female pony and the narrator. This distinction helps the reader comprehend the intimacy the narrator feels with the female pony. The soft â€Å"o† sound also imitates the sound of someone sighing; an action that often  displays an emotion of tenderness or care. In the same lines, Wright uses both alliteration and consonance with the repetition of the â€Å"f† and â€Å"l† sounds, â€Å"falls,† â€Å"forehead,† â€Å"light,† â€Å"long,† and â€Å"delicate.† The alliteration and consonance reflect the gentleness that was created by the â€Å"o† sound. Wright uses alliteration one last time in his concluding lines with the use of â€Å"b† in â€Å"body,† â€Å"break,† and â€Å"blossom.† The â€Å"b† used in Wright’s concluding two lines, â€Å"That if I stepped out of my body I would break / Into blossom.† (23-24). â€Å"B† as a sound is explosive when it comes out of a speaker’s mouth. This movement of the mouth parallels the narrator’s explosion of excitement and realization of his discovery. Throughout the poem, the narrator expresses his enthusiasm towards this meeting with the ponies. It was important to Wright to end of the poem on this explosive note so that it parallels the narrator’s excitement in the beginning. The alliteration, consonance, and assonance create an emotional arc through â€Å"A Blessing.† Each of the sounds created throughout the poem help the reader better comprehend the emotions the narrator is feeling during that given time. â€Å"A Blessing† begins in the present tense. By using the present tense, the reader can imagine the actions in the poem as the narrator does them. In different tenses, certain words carry different connotations. The present tense makes the reader feel as though they are watching the eyes of the ponies darken or as if they are stepping over the barbed wire with the narrator and his friend. By describing the beginning of the poem in present tense, the narrator seems more reliable to the reader. The emotions and actions appear real because they are being done as the audience reads them. The present tense creates a sense of intimacy between the narrator and the reader because they are in tune to the actions he is performing or the effects he is seeing. In line sixteen, Wright changes the tense from present to past. Up until that point, the poem is written in the present tense as Wright describes for his audience what actions the narrator takes as he approaches the horses. In line sixteen, rather than describing the moment as it is happening, Wright chose to say that the pony walked over to him, in the past tense: â€Å"For she walked over to me† (16). The tense change is abrupt and grabs the reader’s attention. The reader’s attention is drawn deeper into the relationship between the narrator and the ponies. The narrator also seems less reliable for he is recounting the ideas rather than  speaking of them as they are happening. The reliability also plays in effect towards to relationship between the narrator and the ponies. The past tense and the reliability make the last half of the poem light and flighty. This flighty atmosphere relates to the otherworldly connection between the narrator and the ponies. Line sixteen not only begins the tense change but it is also the climax of the poem. Wright and his friend had been waiting the entire poem to make contact with the Indian ponies. Wright displayed their eagerness throughout the first fifteen lines of â€Å"A Blessing† by building the anticipation within his narrator and the audience. Wright wants his readers to realize how critical the moment shared between the female pony and his narrator is. â€Å"A Blessing† is composed of two divisions, the physical and the mental. The beginning ten lines describe physical actions performed or things physically seen by the narrator. Wright’s narrator mentions that, â€Å"And the eyes of those two Indian ponies / Darken with kindness† (3-4). These two lines describe something seen by the narrator. By describing what Wright’s narrator is seeing as he draws closer to the ponies allows the reader to understand and visualize for themselves what is being felt by the ponies and how their physical appearance and demeanor changes. To the ponies, the narrator and his friend are strangers. For most animals it is instinctive when strangers enter thei r territory they become territorial and act in aggression towards the unknown. For the ponies to not act in their natural instincts towards the narrator and his friend shows compassion. This compassion hints at an unseen bond between the four characters. â€Å"We step over the barbed wire into the pasture / Where they have been grazing all day, alone† (7-8). Wright uses lines seven and eight for the narrator and his companion to take physical action, where they cross the boundary between themselves and the Indian ponies. The narrator watches a physical action taken by the ponies as their eyes darken and they became more excited as the narrator and his companion draw nearer. When a person or animal feels excited, their eyes naturally widen, allowing more light into their eyes causing their pupils to widen and their eyes to appear darker. Directly preceding line four, Wright’s narrator says, â€Å"They have come gladly out of the willows / To welcome my friend and me† (5-6). The eyes of the ponies show this natural attraction which is then directly followed by them coming to greet the narrator. The ponies are naturally attracted to the  narrator and his friend. In lines eleven and twelve, Wright begins his first emotional division. Line eleven shows a physical action taken by the ponies, â€Å"They bow shyly as wet swansâ €  (11). However, Wright follows that sentence immediately, in the same line, with an emotional one, â€Å"They love each other† (11). Line eleven is the only line where Wright formatted two sentences on one line. This is a development to draw attention to the importance of the ponies’ actions. Love is an emotion and therefore is not something that can physically be seen. However, actions between two participants are used to display affection, which is often interpreted as love. Wright also describes the loneliness of the horses, another emotion that cannot be physically seen but is often portrayed by the one who is feeling lonely. â€Å"There is no loneliness like theirs† (12). The horses bowing their heads can be seen as a sign of loneliness because by bowing their heads they are hiding their faces, which shield their emotions. If the ponies were happy, they would have no need to protect their delicate emotions. To be in love but to be lonely are not two emotions one would typically place together. Love is an emotion that is shared between two companions. If two people are present, one would assume t hat there should be no sense of loneliness because two people are together. However, Wright puts these together successfully which draws the reader to become invested in the emotional state of the ponies and it shows that the narrator himself is invested in the ponies. From lines fourteen to twenty, Wright begins to drift back into the physical division by describing the female pony, her actions towards the narrator, and his actions against her. The horse nuzzles the narrator’s left hand and a light breeze moves him to pet her. â€Å"For she had walked over to me / And nuzzled my left hand† (16-17) and â€Å"And the light breeze moves me to caress her long ear† (20). Each of these actions shows emotion, presumably love or lust, which Wright described in earlier lines. By creating actions that exude an emotion Wright ties action and emotion together as if they are one entity. The relationship that Wright shows between the narrator and the ponies is spiritual in that humans cannot physically have relationships with animals. However, the na rrator continues to emphasize the emotional draw he has towards these beautiful creatures. The narrator is becoming all the more entangled in this special encounter with the ponies. In the concluding sentence which consisted of lines  twenty-two, twenty-three and twenty-four, Wright comes full circle and ends with a mental or emotional division. He leaves the narrator thinking to himself that if he was able to step out of his body that he would blossom. Wright uses blossom as a term of development for his narrator that his experience with the ponies has so greatly affected him that he feels he has now grown and grown so much so that he can have an out of body experience. â€Å"Suddenly I realize / That if I step out of my body I would break / Into blossom† (22-24). Blossoming can also be used to describe the freedom the ponies have of being outside free to roam their pasture and belong in nature. By nature, ponies are wild animals, free of any responsibilities. The nature of the ponies and the nature of the narrator are direct contrasts to each other. The ponies are unrestricted and the narrator is looking for this freedom which is why he is so fascinated by them. Wright’s use of emotional and physical divisions throughout his poem illustrates the narrator’s inner turmoil between what he wants and what h e physically has. The narrator wants to be free to roam around, like the ponies, but rather he is human and therefore possesses daily responsibilities. He is straining to find what he is looking for and finds beauty in the freedom that the ponies are allowed. Wright uses the divisions to alter the attention of the reader and divide his one stanza poem. â€Å"A Blessing† has an understated identity, one in which the speaker is hoping for a chance to join the ponies in another life. Wright mentions on several occasions breaking or crossing a barrier. He begins in his first line, â€Å"Just off the highway to Rochester, Minnesota,† (1) where the narrator is bridging the gap between manmade â€Å"the highway† and nature â€Å"just off.† He then continues to â€Å"We step over the barbed wire into the pasture.† (7). In this line, the narrator and his companion are physically stepping over the barrier between themselves and the ponies. Nearing the end of the poem, Wright breaks the physical barrier between the narrator and the ponies when one of them touches his left hand, â€Å"And nuzzled my left hand† (17). Each of these barrier crossings can be viewed as passages to an afterlife. Each of these barriers must be crossed in order for him to be effectively revitalized. Wright mentions reawakening in the last two lines of his poem. â€Å"That if I stepped out of my body I would break / Into blossom† (23-24). The narrator mentioned earlier in the poem that the ponies were of Indian descent. It is common belief in many Indian  or Native American tribes that rebirth or reawakening is a part of their religious philosophies. This reawakening contributes to the narrator’s relationship with the ponies. The relationship shared between the narrator and the ponies is spiritual and in the last two lines the narrator expresses his need of wanting to be as close with them as possible. Therefore, he desires to step across these borders and join the ponies so that they can be together. Wright’s narrator is searching for himself in the ponies and within the nature around them. He hopes that these events will transcend into a rejuvenating experience. He also gives only one of the ponies an identity. He describes one of them as female and personifies her with human characteristics. In line fifteen he describes her as â€Å"the slender one† and in line eighteen he calls to her coloring â€Å"black and white.† In lines nineteen and twenty-one he talks about the way her hair falls and how delicate her skin is. By giving the pony human characteristics, the reader can see that this pony was possibly someone the narrator had known in another life. The ponies cannot greet the narrator as the narrator would greet a fellow human. To bridge the gap between animal and human, the narrator personifies the ponies. James Wright composed a poem of enlightenment and curiosity. Wright draws his readers in by creating vivid images. He developed a new way to entertain the idea of love. The relationship between the narrator and the ponies is one of endearment which is commonly seen between two humans rather than an animal and a human. Th e spiritual relationship held between the narrator and the ponies, especially the female pony, is the basis of everything the narrator does and describes before and after the encounter. Wright has created new interpretive descriptions of crossing into another lifetime. He developed a life where animals and humans can walk as one and where humans can walk as freely as animals. He also incorporated the common human need for rejuvenation and created â€Å"A Blessing† as a new way to fulfill that human need. James Wright developed a poem that touched on several topics, bringing them all together to create a coherent and fulfilling new life.

The Courage of Beowulf Essay - 812 Words

In the epic Beowulf courage is an on going theme that is shown throughout the entire story. By definition courage is the state or quality of mind or spirit that enables one to face danger, fear, or vicissitudes on ones own will and determination. There are many things form the epic that could be used to prove this statement, but I chose to use the section entitled quot;The Final Battle.quot; In this section there are two great speeches given by both Beowulf and Wiglaf. I believe that in both of these monologues courage is portrayed by the two warriors, and it is easy to see why. nbsp;nbsp;nbsp;nbsp;nbsp;In Section 14, lines 674-685 Beowulf says, nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;quot;....I feel no shame,†¦show more content†¦Butnbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;those days are over and gone and our lord must lean on younger arms. And wenbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;must go to him, while angry flames burn at his flesh, help our glorious king! Bynbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;almighty God Id rather burn myself than see flames swirling around my lord.nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;And who are we to carry home our shields before weve slain his enemy and ours,nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;to run back to our homes with Beowulf so hard pressed here? I swear thatnbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nothing he ever did deserved an en d like this, dying miserable and alone,nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;butchered by this savage beast: we swore that these swords and armor were eachnbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;for us all!...quot; When Wiglaf is saying this to the rest ofShow MoreRelatedCourage Quotes In Beowulf704 Words   |  3 Pagespoem Beowulf by Seamus Heaney, the main character Beowulf displays his courage throughout the whole story, defeating monsters left and right. Beowulf first displays his courage during his fight with the evil monster Grendel. 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