text:
Latin stream/Latin Lesson One

This course is designed to provide you with the foundational skills necessary to begin reading and writing in Latin. This course will cover Classical Latin, which means that Medieval and Ecclesiastical Latin will not be covered in these course materials (although they are similar).

It is hoped that during this course, you will learn:
 * The basic structure of Latin grammar
 * How to decline a noun
 * How to conjugate a verb
 * How to form an adjective

Study Tips and Resources
Andrew Reinhard has recently published a well-researched article ( “From Slate to Tablet PC: Using New Technologies to Teach and Learn Latin and Greek") listing on-line resources for students studying Ancient Greek and Latin, in Classical Journal Online, picked up later and stored on the Wheelock's Latin page

Tips

Learning Latin is easier if you are willing to develop your capacity to memorize. Use any mnemonic device you can to memorize vocabulary and grammatical charts. The grammar charts are designed to be compact enough to fit into your memory, but memorizing the charts is not quite enough in itself--you have to think about what each chart means. Grammar is simply an efficient way to break down language into meaningful categories.

The Very Basics of Case Structure
Latin can be a challenging language to learn, especially at the outset. The number of forms may seem daunting but a lot of them are the same and everything follows a set pattern, so don't worry. The first thing to learn about Latin is its case system. In English, the sentence 'I kick the bucket' is made up of three parts. 'I' is the subject of the sentence. The subject performs the action. 'Kick' is the verb. The verb is the action which is performed by the subject. 'The bucket' is the object of the sentence. The object receives the action performed by the subject.

Synopsis:
 * Subject: The one performing the action. e.g. The cow kicks me; I want that; this meal is delicious. In Latin, the subject is referred to as the nominative subject.
 * Verb: The action being performed. e.g. The cow kicks me; I want that; this meal is delicious.
 * Object: The one receiving the action. e.g. The cow kicks me; I want that; There is no object in the third example. In Latin, the object is referred to as the accusative direct object.

Nouns
In English, the difference between the nominative subject and the accusative direct object is determined by their order in the sentence. For example, the sentence 'The sailor loves the girl' has a different meaning than 'the girl loves the sailor'. In Latin, however, the meaning of a sentence is instead determined by endings added to the words, called "inflections".

To illustrate this better, let's introduce some basic vocabulary. The form for these examples is ''Nominative, Genitive, Gender. Translation''.

 * puella, puellae, f. girl
 * nauta, nautae, m. sailor

For now, let's look at the nominative nouns, puella and nauta. If the word is being used as the nominative subject, it will keep its -a ending. When it's used as the accusative direct object, it has an -am ending. Because the order of the nouns make no difference, 'Puella amat nautam' and 'Nautam amat puella' both mean 'the girl loves the sailor'. Puella has the nominative -a ending, and nautam has the accusative -am ending. To reverse the meaning, reverse the endings. 'Puellam amat nauta' means 'the sailor loves the girl'.

Note: Even though the order of words in the sentence doesn't matter, Latin grammar rules state that sentences have the nominative object at the beginning of the sentence, then the indirect subject, then the direct subject, and lastly, the verb. Also, prepositions are usually placed near their objects.

By this point we know the nominative (subject) case and the accusative (direct object) case. Latin has five cases in all, each with a different purpose in the sentence. In the examples below, the singular and plural endings are given next to name of the case. The horizontal bar over ā is called a macron, and indicates that the vowel is long, stressed differently than the short -a of the nominative case.

Ideas in Latin can be expressed succinctly using these five cases. To say 'I give the book to the girl' the Latin would use puellae instead of to the puellam. (The sentence would read Do librum puellae.)

1st declension

The first declension is quite simple.The endings for the first declension are below. To find the stem drop the genitive noun ending The genitive singular ending determines to which declension a noun belongs. In the first declension most nouns are feminine. Except for nauta, agricola, poeta which are all masculine.
 * Ex.  aquae - ae= aqu

edit by GermanGamboaJr 04:16, 22 June 2011 (UTC)

Declensions
Now, all the nouns we used above are referred to as first declension nouns --i.e., nouns that end in -a (e.g., insula, puella) and form their genitive with -ae (e.g., nautae, puellae). There are five declensions in Latin: the first, second, third, fourth, and fifth. Nouns belonging to the first, second, and third declensions are seen most often.

Gender

Like other Romance languages, all nouns in Latin display gender. First declension nouns tend to be feminine, second declension nouns are masculine (mostly) or neuter ("neither"). But just because a noun is in the first declension, do not assume that its gender is feminine. "Sailor", nauta, is a masculine first declension noun. Since adjectives are determined by gender, make note of a noun's gender when you learn it.

Dictionary Entry

The dictionary entry provides the least information necessary to fully recognize a noun. This means you must learn to read concise dictionary entries. The dictionary entry of a noun begins with its nominative and genitive singular forms, and its gender. From these three items (1) a noun's declension can be determined, and (2) any adjectives modifying it can be detected.

Since the five noun declensions all display the genitive singular form differently, the genitive singular form is a sure determinant of a noun's declension. This is why the genitive singular form is included in the dictionary entry. Furthermore, as mentioned above, any adjectives describing a noun will share its gender, and this is indicated in the dictionary entry by m., f., or n.

Verbs
To make things easy, we'll start verbs by using the verb "to be". This is the basic form of a verb is is usually translated as "I am", "He is", "You are", etc. Below is a conjugation chart for the verb "to be":

A verb can be translated on of three ways: Simple, Progressive, and Emphatic. However, the verb "to be" can only be translated in the progressive.

Vocabulary
This is your vocabulary for this section.

Nouns

 * Femina, feminae f. woman
 * Insula, insulae f. island
 * Terra, terrae f. earth, land
 * Puella, puellae f. girl
 * Taeda, taedae f. torch
 * Aqua, aquae f. water
 * Domina, dominae f. lady, mistress
 * Silva, silvae f. woods, forest
 * Via, viae f. way, road, street
 * Villa, villae f. farmhouse, villa, house (large)

Verbs
(see the translations in the verb section)

Prepositions

 * in in, on, at
 * sub under, beneath, at the foot of
 * cum with

Exercises
'In this exercise, give the number (singular or plural) and case'' of the noun. A number next to the word indicates the number of correct answers.'''

Example: Puellae (3). Nominative plural; Genitive singular; Dative singular.

1. Puella

2. Silvae*

3. Insulīs*

4. Taedā

5. Feminārum

6. Villam

7. Aquae*

8. Terrīs*

9. Dominae*

10. Viās

*Words with this icon may have more than one meaning.

Translate these sentences into English.

Example: Insulam dat nautae puella. The girl gives the island to the sailor.

1. Puella es.

2. Feminae in villā sunt.

3. Cum puellīs sumus.

4. In insulā estis.

5. Aqua sub terrīs est.

title: Latin stream/Latin Lesson One


text:
User:Siandt

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text:
Instructional design/Affective behaviors/Character Education - Back in Style/A Comprehensive Approach

Back to Page One of this Lesson

Strategies for Character Development
In order to develop character in cognitive, emotional and behavior dimensions, schools need a comprehensive approach. A comprehensive approach challenges schools to: (a) identify the character development opportunities present in every phase of classroom and school life and (b) plan deliberate ways to use those opportunities to foster character development and to minimize school practices that are antithetical to good character.

Lickona in his theory defines a comprehensive approach in terms of twelve mutually supportive strategies, nine that are classroom-based and three that are schoolwide.

These methods value and include the following:
 * Direct approaches (e.g., explaining the virtues, modeling them leading student in the study of virtues, and encouraging them to practice the virtues.
 * Indirect approaches (e.g., providing real moral experiences such as cooperative learning, conflict resolution, and service learning that help students understand and practice the virtues).
 * Adult authority and student responsibility
 * Passing on a legacy of moral wisdom and developing critical thinking
 * Helping students practice doing the right thing in clear cases
 * Help students figure out integrative solutions to moral problems where virtues conflict.

Classroom Strategies
Below are the nine classroom strategies with a brief description.

1. The Teacher as Caregiver, Moral Model, and Moral Mentor

 * In classrooms, as in families, our moral impact on children depends greatly on the quality of our relationship with them. In their relationships with their students, teachers can exert positive moral influence in three ways: respecting and caring about their students, setting a good example, and providing directive moral guidance.

2. Creating a Caring Classroom Community

 * Children need caring attachments to adults, but they also need caring attachments to each other. When their own needs for belonging and affirmation are met, they are more likely to care about others.

 * At any grade level, teachers can take steps to cerate a caring classroom community by helping students to: (a) know each other as persons; (b) respect, care about, and affirm each other; and (c) feel a valued membership in the group.

3. Moral Discipline

 * Discipline, if it is to serve character development, must help students develop moral reasoning, self-discipline, and respect for others. Rules should be established in a way that enables students to see the moral standards (e.g. courtesy and caring) behind the rules. The emphasis should not be on extrinsic rewards and punishment but on following the rules because it’s the right thing to do: because it respects the rights and needs of others.

4. Creating a Democratic Classroom Environment

 * This means involving students, on a regular basis, in shared decision-making that increases their responsibility for making the class a good place to be and to learn. The chief means of creating a democratic classroom is the class meeting.

5. Teaching Virtues Through the Curriculum

 * Teachers should look at their curriculum and ask, “What are the moral questions and character lessons already present in the subject I teach? How can I make those questions and lessons salient for my students?” All teachers can engage students in the study of men and women who have achieved moral or intellectual distinction in their fields.

6. Cooperative Learning

 * Cooperative learning gives students regular practice in developing important social and moral competencies, such as the habit of considering the perspectives of others, the ability to work as part of a team, and the capacity to appreciate others, at the same time that they are learning academic material. Cooperative learning also contributes to the development of a cohesive and caring classroom community by breaking down ethnic, racial, and other social barriers and by integrating every student into the small social structure of the cooperative group.

 * Cooperative learning, in order to be effective as an academic and character-building strategy must be designed to include both interdependence and individual accountability.

7. The Conscience of Craft

 * Our personal character often affects the lives of others through the quality of the work we do. When we do our work well, other people benefit; when we do it poorly, other suffer. One of the most important “voice” of conscience therefore is the conscience of craft, the voice that says: “Do a good job.” It is a mark of people’s character when they take care to perform their jobs and other tasks well.

 * A student’s schoolwork affords the opportunity to develop this conscience of craft and the work-related qualities of character: (a) self-discipline, including the ability to delay gratification to pursue future goals; (b) persistence in the face of discouragement; (c) dependability, including a public sense of work as affecting the lives of others; (d) diligence; and (e) responsibility (including making the most of one’s education). Teachers help students develop these work-related character qualities when they set a good example of responsible work through their own teaching (e.g., being well prepared and on time, returning student work promptly with appropriate feedback, and giving extra help where needed), combine high expectations and high support, provide a curriculum that engages all learners, and assign regular and meaningful homework.

8. Ethical Reflection

 * This strategy focuses on developing the various qualities that constitute the cognitive side of character. Especially important is teaching students what the virtues are, how their habitual practice will lead to a more fulfilling life, and how each of us must take reasonability for developing our own character.

9. Teaching Conflict Resolution

 * Teaching students how to resolve conflicts without force or intimidation is a vitally important part of character education for two reasons: (a) conflicts not settled fairly will prevent or erode a moral community in the classroom; and (b) without conflict resolution skills, students will be morally handicapped in their interpersonal relationships now and later in life and may end up contributing to violence in school and society.

Schoolwide Strategies
Below are the three schoolwide strategies with a brief description.

1. Caring Beyond the Classroom

 * Character education must extend students’ caring beyond the classroom into larger and larger spheres. Students can be helped to develop their awareness of the needs of others, their desire to help, and the skills of helping through exposure to altruistic role models and through continuing opportunities for service in their schools and communities. Service opportunities with potential develop character are those that involve students in face-to-face helping relationships so that they experience the fulfillment of touching another’s life.

2. Creating a Positive Moral Culture in the School

 * The moral culture of a school is defined by its operative values; ones that are reflected in actual school practices and behavior (e.g., do people respect each other? help each other? pay attention to moral problems in the school environment?). Operative values are true norms: what people expect of everybody else and are willing to help uphold. The school’s moral culture is important because it affects moral behavior (a positive moral culture pulls behavior up, whereas a negative culture pulls it down) and because it affects character development (a positive moral culture makes it easier to develop good character).

 * Creating a positive moral culture in the school involves defining, modeling, teaching, and upholding the school’s character expectations in all areas of school life. Part of this effort is mobilizing the peer culture on the side of virtue. One of the most effective ways to do that is partici8patory school democracy that involves students in sharing responsibility for the moral environment of the school.

3. Recruiting Parents and the Community as Partners in Character Education

 * Three ideas here are key: (a) Parents are a child’s first and most important moral teachers, and the school must do everything it can to support parents in this role; (b) parents must in turn support the school’s efforts to develop good character; (c) The impact of the school-parent partnership is enhanced when wider community (e.g., churches, businesses, youth organizations, local government, and the media) promotes the virtues that make up good character.

Additional Design Guidelines
In addition to Lickona’s strategies, Simonson and Maushak (2001) have drawn on findings from a number of studies to create a series of six guidelines for effective design of attitude instruction. These are:

 * 1) Make the instructional realistic, relevant, and technically stimulating
 * 2) Present new information
 * 3) Present persuasive messages in a credible manner
 * 4) Elicit purposeful emotional involvement
 * 5) Involve the learner in planning, production or delivery of the message
 * 6) Provide post-instruction discusion or critique opportunities

Relating to the behavioral aspects of attitude learning, Smith and Ragan (1999) emphasize the importance of three key instructional approaches:

 * 1) Demonstration of the desired behavior by a respected role model
 * 2) Practice of the desired behavior, often through role playing
 * 3) Reinforcement of the desired behavior

Assessment in the Character Education
Lickona states that as the character education movement gains momentum, questions of evaluation loom larger. In thinking about evaluation, it is helpful to identify three kinds of results schools hope for when they undertake character education:

1. Improvements in student character that can be observed or documented within the school environment.

 * Schools often begin character education programs because they hope to make the school a better place by effecting a positive change in student attitudes and behavior. Evaluation in this area asks questions such as: Has student attendance gone up? Fights and suspensions gone down? Vandalism declined? Drug incidents diminished? Attitudes toward cheating, and self-reported frequency of cheating, improved? Once can assess such before-and-after-the-program differences by keeping records of observable behavior and by anonymous questionnaires that measure student moral judgment (for example, “Is cheating on a test wrong?”), moral commitment (“Would you cheat if you were sure you wouldn’t get caught?”), and self-reported moral behavior, (“How many ties have you cheated on a test in the past year?”).

2. Character effects beyond the school environment.

 * This is a measure of generalization. Here evaluation asks: to what extent do students, when they are outside the school, engage in prosocial behaviors such as helping others in need? Stand up for a moral belief? Refrain from antisocial behaviors such as shoplifting? Refrain for high-risk behaviors such as drinking and driving and sexual intercourse? These behaviors outside the school environment, like in-school behaviors, can be assessed through anonymous self-report surveys.

3. Life outcomes after graduation.

 * This is a measure of the school’s enduring effects on character. To what do graduates become faithful spouses and responsible parents? Law-abiding citizens? Productive and contributing members of their communities? This third area can be assessed only through longitudinal research typically beyond the capacity of schools themselves. Other agencies can and must undertake such evaluations.

Task: Check Your Understanding of Character Development Guidelines, Strategies & Assessment
Now that you have reviewed strategies, guidelines, and assessment for character education, let's stop a moment to see what you have learned in this section. Please complete the following worksheet.

Lesson Summary

 * The affective domain is concerned primarily with feelings, attitudes and behaviors

 * In educational contexts, 'character' is often considered to refer to how 'good' a person is, whether or not a peson exhibits pesonal qualities which fit with tose considred desireable by a society. Commonly emphasized qualities include honesty, respect, and responsibility.

 * In its underlying philosophy, charachter education asserts the reality of objective moral truth, the notion that some tings are truly right and others truly wrong. Objective moral truths have a claim on our conscience and behavior.

 * The three goals of character education are: 1) Good People; 2) Good Schools; 3)Good Society.

 * Six Pillars of Character are: Trustworthiness, Respect, Responsibility, Fairness, Caring, and Citizenship.

 * Character education also involves the cognitive, psychomotor, and interpersonal domains.

 * Nine classroom and three schoolwide strategies have been identified for designing effective character education instruction.

 * Personal responsibility, self-disciplines, and participation can be assessed in character education.


text:
Portal talk:German/Stream

How to start?
This really interests me, but I'm not sure how to start. Should I just be bold, find a textbook, make a bunch of subpages, and start working through it? --HappyCamper 22:26, 20 April 2007 (UTC)

Yes, find a text and a good Audio/Visual resource for beginning students. Something like Pimsleur would be great to replace the pronounciation and listening exercise that you would normally receive in school, but obviously theirs is not a free product. Maybe some children's show or other beginning German subject is available for download. If it's too advanced, I think it would be useless.

Above all, you need a teacher or two. That person will decide the scope of the class and its pace, not you. Good luck.

Here is a possible text from wikibooks: http://upload.wikimedia.org/wikibooks/en/2/2d/German.pdf

 * Thanks for the link 12.36.123.2 :-) --HappyCamper 00:27, 22 May 2007 (UTC)

Participants
Most of the participants have listed their names, not their usernames. How useful are these in these lists? The Jade Knight 08:15, 8 June 2007 (UTC)
 * I think it's good for people just to express interest. My interpretation is that these people are simply putting themselves on the record to say "I know about Wikiversity, I'm interested in learning German there, and I'll wait eagerly for the resources to spring up!". --HappyCamper 15:47, 8 June 2007 (UTC)

Merge
This page has been flagged for merge. It should be there is nothing on the main page and should be removed.

title: Portal talk:German/Stream


text:
Instructional design/Affective behaviors/A Comprehensive Approach to Character Development

Back to Page One of this Lesson

Strategies for Character Development
In order to develop character in its cognitive, emotional and behavior dimensions, schools (or other organizations) need a comprehensive approach. A comprehensive approach challenges schools (or other organizations) to: (a) identify the character development opportunities present in every phase of classroom and school life and (b) plan deliberate ways to use those opportunities to foster character development and to minimize school practices that are antithetical to good character.

Lickona in his theory defines a comprehensive approach in terms of twelve mutually supportive strategies, nine that are classroom-based and three that are schoolwide.

These methods include the following:
 * Direct approaches (e.g., explaining the virtues, modeling them leading student in the study of virtues, and encouraging them to practice the virtues.
 * Indirect approaches (e.g., providing real moral experiences such as cooperative learning, conflict resolution, and service learning that help students understand and practice the virtues).
 * Adult authority and student responsibility
 * Passing on a legacy of moral wisdom and developing critical thinking
 * Helping students practice doing the right thing in clear cases
 * Help students figure out integrative solutions to moral problems where virtues conflict.

Classroom Strategies
Below are the nine classroom strategies with a brief description.

1. The Teacher as Caregiver, Moral Model, and Moral Mentor

 * In classrooms, as in families, our moral impact on children depends greatly on the quality of our relationship with them. In their relationships with their students, teachers can exert positive moral influence in three ways: respecting and caring about their students, setting a good example, and providing directive moral guidance.

2. Creating a Caring Classroom Community

 * Children need caring attachments to adults, but they also need caring attachments to each other. When their own needs for belonging and affirmation are met, they are more likely to care about others.

 * At any grade level, teachers can take steps to cerate a caring classroom community by helping students to: (a) know each other as persons; (b) respect, care about, and affirm each other; and (c) feel a valued membership in the group.

3. Moral Discipline

 * Discipline, if it is to serve character development, must help students develop moral reasoning, self-discipline, and respect for others. Rules should be established in a way that enables students to see the moral standards (e.g. courtesy and caring) behind the rules. The emphasis should not be on extrinsic rewards and punishment but on following the rules because it’s the right thing to do: because it respects the rights and needs of others.

4. Creating a Democratic Classroom Environment

 * This means involving students, on a regular basis, in shared decision-making that increases their responsibility for making the class a good place to be and to learn. The chief means of creating a democratic classroom is the class meeting.

5. Teaching Virtues Through the Curriculum

 * Teachers should look at their curriculum and ask, “What are the moral questions and character lessons already present in the subject I teach? How can I make those questions and lessons salient for my students?” All teachers can engage students in the study of men and women who have achieved moral or intellectual distinction in their fields.

6. Cooperative Learning

 * Cooperative learning gives students regular practice in developing important social and moral competencies, such as the habit of considering the perspectives of others, the ability to work as part of a team, and the capacity to appreciate others, at the same time that they are learning academic material. Cooperative learning also contributes to the development of a cohesive and caring classroom community by breaking down ethnic, racial, and other social barriers and by integrating every student into the small social structure of the cooperative group.

 * Cooperative learning, in order to be effective as an academic and character-building strategy must be designed to include both interdependence and individual accountability.

7. The Conscience of Craft

 * Our personal character often affects the lives of others through the quality of the work we do. When we do our work well, other people benefit; when we do it poorly, other suffer. One of the most important “voice” of conscience therefore is the conscience of craft, the voice that says: “Do a good job.” It is a mark of people’s character when they take care to perform their jobs and other tasks well.

 * A student’s schoolwork affords the opportunity to develop this conscience of craft and the work-related qualities of character: (a) self-discipline, including the ability to delay gratification to pursue future goals; (b) persistence in the face of discouragement; (c) dependability, including a public sense of work as affecting the lives of others; (d) diligence; and (e) responsibility (including making the most of one’s education). Teachers help students develop these work-related character qualities when they set a good example of responsible work through their own teaching (e.g., being well prepared and on time, returning student work promptly with appropriate feedback, and giving extra help where needed), combine high expectations and high support, provide a curriculum that engages all learners, and assign regular and meaningful homework.

8. Ethical Reflection

 * This strategy focuses on developing the various qualities that constitute the cognitive side of character. Especially important is teaching students what the virtues are, how their habitual practice will lead to a more fulfilling life, and how each of us must take reasonability for developing our own character.

9. Teaching Conflict Resolution

 * Teaching students how to resolve conflicts without force or intimidation is a vitally important part of character education for two reasons: (a) conflicts not settled fairly will prevent or erode a moral community in the classroom; and (b) without conflict resolution skills, students will be morally handicapped in their interpersonal relationships now and later in life and may end up contributing to violence in school and society.

Schoolwide Strategies
Below are the three schoolwide strategies with a brief description.

1. Caring Beyond the Classroom
 * Character education must extend students’ caring beyond the classroom into larger and larger spheres. Students can be helped to develop their awareness of the needs of others, their desire to help, and the skills of helping through exposure to altruistic role models and through continuing opportunities for service in their schools and communities. Service opportunities with potential develop character are those that involve students in face-to-face helping relationships so that they experience the fulfillment of touching another’s life.

2. Creating a Positive Moral Culture in the School
 * The moral culture of a school is defined by its operative values; ones that are reflected in actual school practices and behavior (e.g., do people respect each other? help each other? pay attention to moral problems in the school environment?). Operative values are true norms: what people expect of everybody else and are willing to help uphold. The school’s moral culture is important because it affects moral behavior (a positive moral culture pulls behavior up, whereas a negative culture pulls it down) and because it affects character development (a positive moral culture makes it easier to develop good character).

 * Creating a positive moral culture in the school involves defining, modeling, teaching, and upholding the school’s character expectations in all areas of school life. Part of this effort is mobilizing the peer culture on the side of virtue. One of the most effective ways to do that is partici8patory school democracy that involves students in sharing responsibility for the moral environment of the school.

3. Recruiting Parents and the Community as Partners in Character Education
 * Three ideas here are key: (a) Parents are a child’s first and most important moral teachers, and the school must do everything it can to support parents in this role; (b) parents must in turn support the school’s efforts to develop good character; (c) The impact of the school-parent partnership is enhanced when wider community (e.g., churches, businesses, youth organizations, local government, and the media) promotes the virtues that make up good character.

Additional Design Guidelines
In addition to Lickona’s strategies, Simonson and Maushak (2001) have drawn on findings from a number of studies to create a series of six guidelines for effective design of attitude instruction. These are:

 * 1) Make the instructional realistic, relevant, and technically stimulating
 * 2) Present new information
 * 3) Present persuasive messages in a credible manner
 * 4) Elicit purposeful emotional involvement
 * 5) Involve the learner in planning, production or delivery of the message
 * 6) Provide post-instruction discusion or critique opportunities

Relating to the behavioral aspects of attitude learning, Smith and Ragan (1999) emphasize the importance of three key instructional approaches:

 * 1) Demonstration of the desired behavior by a respected role model
 * 2) Practice of the desired behavior, often through role playing
 * 3) Reinforcement of the desired behavior

Assessment in the Character Education
Lickona states that as the character education movement gains momentum, questions of evaluation loom larger. In thinking about evaluation, it is helpful to identify three kinds of results schools hope for when they undertake character education:

1. Improvements in student character that can be observed or documented within the school environment.
 * Schools often begin character education programs because they hope to make the school a better place by effecting a positive change in student attitudes and behavior. Evaluation in this area asks questions such as: Has student attendance gone up? Fights and suspensions gone down? Vandalism declined? Drug incidents diminished? Attitudes toward cheating, and self-reported frequency of cheating, improved? One can assess such before-and-after-the-program differences by keeping records of observable behavior and by anonymous questionnaires that measure student moral judgment (for example, “Is cheating on a test wrong?”), moral commitment (“Would you cheat if you were sure you wouldn’t get caught?”), and self-reported moral behavior, (“How many times have you cheated on a test in the past year?”).

2. Character effects beyond the school environment.
 * This is a measure of generalization. Here evaluation asks: to what extent do students, when they are outside the school, engage in prosocial behaviors such as helping others in need? Stand up for a moral belief? Refrain from antisocial behaviors such as shoplifting? Refrain for high-risk behaviors such as drinking and driving and sexual intercourse? These behaviors outside the school environment, like in-school behaviors, can be assessed through anonymous self-report surveys.

3. Life outcomes after graduation.
 * This is a measure of the school’s enduring effects on character. To what do graduates become faithful spouses and responsible parents? Law-abiding citizens? Productive and contributing members of their communities? This third area can be assessed only through longitudinal research typically beyond the capacity of schools themselves. Other agencies can and must undertake such evaluations.

Task: Check Your Understanding of Character Development Strategies & Guidelines
Now that you have reviewed the strategies and guidelines for character education, let's stop a moment to see what you have learned in this section. Please complete the following worksheet.

In the Character Education Designer’s Shoes
Now that you have a better understanding of what character education is, as well as the strategies, guidelines and assessment for character development, let's look at an e-Learning module that was designed with character development in mind.

For this activity, we will take a quick look at an online e-Learning module as an example of character education instruction. We will go through the different character education strategies used in designing the example e-Learning module. We will review the different aspects of designing the presentation, practice, feedback and evaluation portions of this example module. We will also identify the audience, learning objectives, and context.

Please continue on to the next page to get started on the e-Learning module review activity.

Lesson Summary

 * The affective domain is concerned primarily with feelings, attitudes and behaviors
 * In educational contexts, 'character' is often considered to refer to how 'good' a person is, whether or not a peson exhibits pesonal qualities which fit with tose considred desireable by a society. Commonly emphasized qualities include honesty, respect, and responsibility.
 * In its underlying philosophy, charachter education asserts the reality of objective moral truth, the notion that some tings are truly right and others truly wrong. Objective moral truths have a claim on our conscience and behavior.
 * The three goals of character education are: 1) Good People; 2) Good Schools; 3)Good Society.
 * Six Pillars of Character are: Trustworthiness, Respect, Responsibility, Fairness, Caring, and Citizenship.
 * Character education also involves the cognitive, psychomotor, and interpersonal domains.
 * Nine classroom and three schoolwide strategies have been identified for designing effective character education instruction.
 * Personal responsibility, self-disciplines, and participation can be assessed in character education.

To continue to enhance your understanding of the affective domain and character education, feel free to post your thoughts/experiences and particpate in discussions on the Affective Domain Blog.


text: User talk:Vbird

title: User talk:Vbird


text:
User talk:Frodo~enwikiversity

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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title: User talk:Frodo~enwikiversity


text:
User talk:Siandt

Latin
Hi. I am Barışhan from Turkey and want to learn Latin. I saw your name at the article about Latin Teachers. Can you teach me some? Here's my e-mail, if you answer me, I'll be very glad: xander.harris69@hotmail.com Thank you very much Euaggelia 16:06, 8 April 2008 (UTC)

Hey, I am Zach from Florida and I also want to learn Latin. I also say your name on the article about Latin Teachers. I was wondering if you could teach me also. Here is my e-mail: zroach@flsouthern.edu I would appreciate it very much if you could get back to me, and thank you.

title: User talk:Siandt


text:
Neurophilosophy

Welcome to the Wikiversity content development project for Neurophilosophy.

Project scope
Neurophilosophy includes scientific studies that are related to philosophy of mind and philosophy that explores the implications of all aspects of neuroscience. This content development project is devoted to the creation and development of learning resources that help learners explore the mind from a biological perspective with special emphasis on philosophical implications of scientific study of consciousness. Learning resources that attempt to unify neuroscience, philosophy of mind and artificial intelligence research are also welcome.

Learning resources

 * Consciousness Studies - Exploration of the neuroscience and philosophy of consciousness.
 * Topic:Neuroscience - General survey of neuroscience courses.

title: Neurophilosophy


text:
Consciousness studies

Welcome to the consciousness studies learning project.

Learning activities

 * Read, discuss and improve the Consciousness Studies Wikibook.
 * Collect and discuss recently published journal articles that explore the molecular, cellular and whole nervous system level basis of conscious experience.
 * Temperature dependence of erythromelalgia mutation L858F in sodium channel Nav1.7 - burning pain sensation due to sodium channel mutation
 * An SCN9A channelopathy causes congenital inability to experience pain - inability to sense pain due to mutation of sodium channel Nav1.7

Learning modules

 * Can there be a science of consciousness? - What is consciousness and how can it be studied?
 * Chemistry and consciousness - Is consciousness a biochemical process?

title: Consciousness studies


text: Category:Consciousness studies

title: Category:Consciousness studies


text:
Film school:Narrative Dialog Editing:Story of Penny and Eggbert:L-Cuts 2

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" An example for the course on Narrative Film Editing
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

{| border=0 cellspacing=0 cellpadding=5 style="margin:0em 0em 0em 0em; width:100%"
 * bgcolor=Cornsilk |

Making the "L-Cut" decisions

 * Just to refresh your memory, here is how we create "L-Cuts":
 * 1. Select the best sounding dialog, one piece of dialog at a time.  Make your cuts half way between the dialog (where one actor stops and the next actor starts talking.)
 * 2. Assemble the audio clips.  Assuming the picture is not bad, accept whatever picture comes with the audio clip.
 * 3. Lock the audio.  It should sound totally natural even if the images looks medicre.
 * 4. Roll the picture edits to find the best visual transition.  The automatically creates "L-Cuts" when you roll the picture edit without changing the audio edit.
 * But where is the best visual transition? And what impact does "L-Cuts" have on the audience?

Which direction is best?

 * Finding the best visual transition is just "trial and error" to get a good looking transition. However, there is somethign else you must think about.

 * 1. Rolling a clip forward in time (to the right) shows the actor reacting to the next speaker.
 * 2. Rolling a clip backward in time (to the left) shows the anticipation of the next speaker when the other actor finishes his or her lines.

 * In addition, there are other conciderations:

 * 3. You can emphasize one actor or the other by showing both the reation and the anticipation of the one actor rather than the other.

 * bgcolor=Cornsilk |

 * bgcolor=Cornsilk colspan="2" |Note: Penny and Eggbert are 3D Poser models created by 3D Universe.  For this lesson, these characters were posed and rendered with the free DAZ Studio.
 * }
 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Repeat of a previous lesson
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Our first step
First, we created the rough edit.

 * style="padding:0em 0.5em 0em 0.5em;" |

Just simple cuts based on the audio Rough Edit
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Here is the rough edit

 * Just three clips assembled together. Very easy!

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Repeat of the previous lesson
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

Our second step
Then we looked at which "L-Cuts" are technically possible.

 * style="padding:0em 0.5em 0em 0.5em;" |

Which way to roll?
 * style="width:60%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" |

Think about rolling the picture edits

We have four choices

 * We have four choices but one will create technical problems. Note:This is not actually true since you can at least fudge the first "peep" to appear to be in sync.)

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" The first edit
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

The first edit point
We must make a decision about the first edit.

 * style="padding:0em 0.5em 0em 0.5em;" |

Straight cuts based on the audio The First Edit
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Who should we emphasize?

 * Should we emphasize Penny or Eggbert?

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Here is the first edit rolled forward
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

→ → → Roll the picture edit to the right → → →

This emphasizes Eggbert

 * Do we want to emphasize Eggbert more than Penny?

 * Because Penny's lips are visible, this option will be very limited. To do this option, the sound track will have to be fudged.  Even so, this option is limited to just the first "peep".

 * The decision about emphasizing Eggbert cannot be made until the next lesson (the pop quiz) where you decide what this scene means. That will help you decide if you want to emphasize Eggbert.

 * }

Or you can...

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Here is the first edit rolled backward
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

← ← ← Roll the picture edit to the left ← ← ←

This emphasizes Penny

 * Do we want to emphasize Penny?

 * The decision about emphasizing Penny cannot be made until the next lesson (the pop quiz) where you decide what this scene means. That will help you decide if you want to emphasize Penny.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" The second edit
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

The second edit point
We must make a decision about the second edit.

 * style="padding:0em 0.5em 0em 0.5em;" |

Straight cuts based on the audio The Second Edit
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Who should we emphasize?

 * Should we emphasize Penny or Eggbert?

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Here is the first edit rolled forward
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

→ → → Roll the picture edit to the right → → →

This emphasizes Penny

 * Do we want to emphasize Penny?

 * The decision about emphasizing Penny cannot be made until the next lesson (the pop quiz) where you decide what this scene means. That will help you decide if you want to emphasize Penny.

 * }

Or you can...

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Here is the first edit rolled backward
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

← ← ← Roll the picture edit to the left ← ← ←

This emphasizes Eggbert

 * Do we want to emphasize Eggbert?

 * The decision about emphasizing Eggbert cannot be made until the next lesson (the pop quiz) where you decide what this scene means. That will help you decide if you want to emphasize Eggbert.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Art vs. technology
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

Artistic decisions
You have looked at the technology of "L-Cuts". Now you know which "L-Cuts" are technically possible.

But this does not tell you what you should do. Now you must make an artistic decision.

Not the technology of filmmaking ends and the art of filmmaking begins.

 * style="padding:0em 0.5em 0em 0.5em;" |

What does this movie mean?
 * style="width:60%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" |

Artistic choices

We have a million choices

 * Technically, we have four choices. But artistically, we have a million choices.

 * Now the fun begins!

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Now we must make some decisions
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

The pop quiz #2

 * To help make the decisions, we first will take another pop quiz. Click here to go to the next page.

 * }


text:
Film school:Narrative Dialog Editing:Story of Penny and Eggbert:L-Cuts 1

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" An example for the course on Narrative Film Editing
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

{| border=0 cellspacing=0 cellpadding=5 style="margin:0em 0em 0em 0em; width:100%"
 * bgcolor=Cornsilk |

Limitations

 * There are limitations. You cannot always create "L-Cuts" at every edit.

 * This is because everytime you roll a picture edit, you have a protential sync problem.

 * Remember: Where ever you roll a picture edit, you always hear the sound from one clip while you see the picture from another clip.  Therefore, the picture will be out of sync... if you see the lips of the speaker.

 * But if you don't see the lips of the speaker, then you have no problem!

 * Let's see how this rule applies to our scene.

.

 * bgcolor=Cornsilk |

 * bgcolor=Cornsilk colspan="2" |Note: Penny and Eggbert are 3D Poser models created by 3D Universe.  For this lesson, these characters were posed and rendered with the free DAZ Studio.
 * }
 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Repeat of a previous lesson
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

The previous steps
Previously, we created the rough edit. Here is what it looks like.

There are just two edits in the entire scene. Very simple.

 * style="padding:0em 0.5em 0em 0.5em;" |

Just straight cuts based on the spoken words of the actors Rough Edit
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Here is the rough edit

 * Three clips which have been trimmed (by hidding the unwanted footage) and then assembled together. Very easy!

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Repeat of the previous lesson
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;"|

Roll the picture edits
Once you create the rough edit, you lock the audio and roll the picture edits to find the best visual transition.

But there is a problem. You cannot always roll a picture edit because then you will lose sync.

Notice that one of the possible ways to roll the picture edit is not allowed. Why?

 * style="padding:0em 0.5em 0em 0.5em;" |

When are "L-Cuts" allowed?
 * style="width:60%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" |

Begin Rolling the Picture Edits

Why can you not roll the edits anyway you want?

 * Notice that one of the arrows is x-ed out. Why?

 * You cannot roll the picture edit in that direction because you will loose audio sync.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Rolling the first edit to the right →
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Forbidden
You are not allowed to roll the first picture edit to the right. If you do, the picture and the sound will be out of sync.

 * style="padding:0em 0.5em 0em 0.5em;" |

Not allowed
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

You see Penny's lips

 * When you roll the picture edit, you will see Penny's lips in the wide angle shot while you hear Penny from the over the shoulder shot. That is why if you extend the wide angle shot by rolling the picture edit to the right, Penny's lips will be out of sync with the audio from the second clip.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Rolling the first edit to the left ←
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Allowed
You are allowed to roll the first picture edit to the left.

Once you have rolled the picture edit to the left, you will see Penny before she begins to speak while you continue to hear Eggbert finishing his dialog from the clip which shows both Eggbert and Penny (the two shot).

 * style="padding:0em 0.5em 0em 0.5em;" |

Allowed
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

You do not see Eggbert's lips

 * This is good! You cannot see Eggbert's lips in the over-the-shoulder shot.  Therefore the audio and picture are never out of lip sync.

 * Because the audience cannot see Eggbert's lips, they never know that the two clips are actually out of sync. To the audience, it looks normal.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Rolling the second edit to the right →
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Allowed
You are not allowed to roll the first picture edit to the right.

Once you have rolled the second picture edit to the right, you continue to watch Penny after she has finished speaking while you hear Eggbert begin his dialog from the clip which shows both Eggbert over the shoulder of Penny.

 * style="padding:0em 0.5em 0em 0.5em;" |

3 - Allowed
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

You do not see Eggbert's lips

 * This is good! You cannot see Eggbert's lips in the over-the-shoulder shot.

 * You are allowed to roll the second picture edit to the right because no one will know that the picture and the audio are out of lip sync. That is because you cannot see the lips of the speaker who has his back to the audience.

 * Once you have rolled the picture edit to the right (without changing the audio which remains locked), you now see Penny after she has finished speaking while you hear Eggbert begin his second dialog from the over the shoulder of Eggbert.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Rolling the second edit to the left ←
 * style="width:40%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Allowed
You are not allowed to roll the first picture edit to the right.

Once you have rolled the picture edit to the left, you will see Eggbert before he begins to speak while you continue to hear Penny finishing her dialog from the clip which shows both Penny over the shoulder of Eggbert..

 * style="padding:0em 0.5em 0em 0.5em;" |

4 - allowed
 * style="width:60%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

You cannot see Penny's lips

 * This is good! You cannot see Penny's lips in the over the shoulder shot.
 * You are allowed to roll the second picture edit to the right because no one will know that the picture and the audio are out of lip sync. That is because you can not see the lips of the speaker (who has her back to the audience.)

 * Once you have rolled the picture edit to the left (without changing the audio which remains locked), you now see Eggbert listening before he begins to speak while you hear Penny finish her dialog from the over the shoulder of Penny.

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" More about "L-Cuts"
 * }
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

The next page

 * We need to look at even more details about "L-Cuts". Click here to go to the next page.

 * }


text:
Instructional design/Affective behaviors/A Comprehensive Approach to Character Development/Task Two Worksheet

Back to Page 2 of Lesson 3:  Page Two: A Comprehensive Approach to Character Development

Task Two Worksheet

To fill out worksheet, please print.

1. List the six guidelines presented by Simonson and Maushak for effective design of attitude instruction.

2. List the three key instructional approaches relating to the behavioral aspects of attitude learning presented by Smith and Ragan.

3. Identify each of the strategies listed below as either being a classroom strategy or a schoolwide strategy by putting a C for classroom or S for schoolwide next to each strategy.

 * Develop students' caring beyond the classroom through exposure to altruistic role models and continuing opportunities for service (in face-to-face relationships) in their schools and communities.
 * Teachers should respect and care about their students, set a good example, and provide directive moral guidance.
 * Create a caring classroom community by helping students to know each other as persons; respect, care about, and affirm each other; and feel a valued member of the group.
 * Help students develop moral reasoning, self-discipline, and respect for others.
 * Involve students, through regular class meetings, in shared decision-making.
 * Teach virtues through the curriculum by "mining" it for its moral potential.
 * Recruit parents and the community as partners in character education.
 * Use cooperative learning to give students regular practice on important social and moral competencies while learning academic material and to contribute to the development of a cohesive and caring classroom community. Students should regularly reflect on how well they cooperated, and should develop guidelines.
 * Help students develop the "conscience of craft" (desire to do a good job), including self-discipline, persistence, dependability, diligence, and responsibility, by setting a good example, combining high expectations and high support, engaging all learners, and assigning regular and meaningful homework.
 * Create a positive moral culture in the school by defining, modeling, teaching, and upholding the school's character expectations in all areas of school life. Participatory school democracy is a powerful tool for mobilizing the peer culture on the side of virtue.
 * Teach students what the virtues are, how their habitual practice will lead to a more fulfilling life, and how each of us must take responsibility for developing our own character.
 * Teach students how to resolve conflicts.

Check your answers to find out how you did!

Back to Page 2 of Lesson 3:  Page Two: A Comprehensive Approach to Character Development


text:
Can there be a science of consciousness?

The Introduction module of the Consciousness Studies Wikibook introduces the idea that consciousness has long been an object of study. What tools for studying consciousness were available to Aristotle? In his book De Anima, Aristotle described his own personal conscious experiences. As might be expected for a primate, Aristotle placed a heavy emphasis on visual perception. Introspective reports of conscious experiences remain an important source of information about consciousness, but reliance on subjective reports of personal experiences is not a very powerful tool for exploring the physical basis of consciousness. In fact, many people prefer to interpret their subjective experiences in terms of the activity of a supposed non-physical "conscious being" or soul.

In his book, The Astonishing Hypothesis, Francis Crick described the fact that many neuroscientists fully expect that it will eventually be possible to produce a satisfactory understanding of the physical basis by which human brains produce conscious experiences. What is the basis for this confidence? What tools in addition to introspective reports of normal conscious exist for study of consciousness?

One approach to the study of consciousness involves making correlations between abnormal conscious experiences and perturbations of the nervous system. For example, strokes can damage specific brain regions and result in altered patterns of conscious experience. For example, if a stroke damages part of the visual cortex that generates our normal sense of movement of seen objects, we can lose our normal ability to experience the sight of moving objects (see The Functional Organization of Extrastriate Visual Areas).

Humans have a long history of using drugs to modulate conscious experiences. By combining drugs with scans of brain activity, it is possible to relate the ability of drugs to alter consciousness to changes in the activity of particular brain regions (for example, see Preclinical Assessment of Candidate Analgesic Drugs: Recent Advances and Future Challenges). In addition to drugs, electrical stimulation of the brain and modification of brain activity using magnetic fields can be used to alter conscious experience by changing the function specific brain regions.

Genetic methods are also available for study of the physical basis of conscious experiences. For example, genetic mutations in a sodium channel gene can result in the abnormal experience of burning pain sensation (see Temperature dependence of erythromelalgia mutation L858F in sodium channel Nav1.7). Other mutations in the same gene can cause inability to sense pain (see An SCN9A channelopathy causes congenital inability to experience pain). Other well-characterized mutations can disrupt color perception.


text:
Instructional design/Affective behaviors/A Comprehensive Approach to Character Development/Task Two Worksheet Answers

Back to Page 2 of Lesson 3:  Page Two: A Comprehensive Approach to Character Development

Task Two Worksheet

1. List the six guidelines presented by Simonson and Maushak for effective design of attitude instruction.

 * 1) Make the instruction realistic, relevant, and technically stimulating
 * 2) Present new information
 * 3) Present persuasive messages in a credible manner
 * 4) Elicit purposeful emotional involvement
 * 5) Involve the learner in planning, production or delivery of the message
 * 6) Provide post-instruction discussion or critique opportunities

If you listed the six guidelines above, good job! If not, please review the additional design guidelines section again.

2. List the three key instructional approaches relating to the behavioral aspects of attitude learning presented by Smith and Ragan.

 * 1) Demonstration of the desired behavior by a respected role model
 * 2) Practice of the desired behavior, often through role playing
 * 3) Reinforcement of the desired behavior

If you listed the three instructional approaches above, good job! If not, please review the additional design guidelines section again.

3. Identify each of the strategies listed below as either being a classroom strategy or a schoolwide strategy by putting a C for classroom or S for schoolwide next to each strategy.

 * Develop students' caring beyond the classroom through exposure to altruistic role models and continuing opportunities for service (in face-to-face relationships) in their schools and communities. S
 * Teachers should respect and care about their students, set a good example, and provide directive moral guidance. C
 * Create a caring classroom community by helping students to know each other as persons; respect, care about, and affirm each other; and feel a valued member of the group. C
 * Help students develop moral reasoning, self-discipline, and respect for others. C
 * Involve students, through regular class meetings, in shared decision-making. C
 * Teach virtues through the curriculum by "mining" it for its moral potential. C
 * Recruit parents and the community as partners in character education. S
 * Use cooperative learning to give students regular practice on important social and moral competencies while learning academic material and to contribute to the development of a cohesive and caring classroom community. Students should regularly reflect on how well they cooperated, and should develop guidelines. C
 * Help students develop the "conscience of craft" (desire to do a good job), including self-discipline, persistence, dependability, diligence, and responsibility, by setting a good example, combining high expectations and high support, engaging all learners, and assigning regular and meaningful homework. C
 * Create a positive moral culture in the school by defining, modeling, teaching, and upholding the school's character expectations in all areas of school life. Participatory school democracy is a powerful tool for mobilizing the peer culture on the side of virtue. S
 * Teach students what the virtues are, how their habitual practice will lead to a more fulfilling life, and how each of us must take responsibility for developing our own character. C
 * Teach students how to resolve conflicts. C

If you identified the strategies above correctly as classroom or schoolwide, good job! If not, please review the strategies section again.

Back to Page 2 of Lesson 3:  Page Two: A Comprehensive Approach to Character Development


text: File:Eggbert Quiet OS Penny w Back.png

title: File:Eggbert Quiet OS Penny w Back.png


text: File:Penny Quiet OS Eggbert w Back.png

title: File:Penny Quiet OS Eggbert w Back.png


text:
Rate problems in calculus

This is a collection of study problems related to rates of change.

Example
a coned-shaped paper drinking cup is to be made to hold 27cu. cm. of water. Find the height and radius of the cup that will use the smallest amount of paper.

Solution
First, we have to find a formula which relates the volume of the container, and the height. One possible formula is
 * $$V = \pi r^2 h \;\,.$$

We can put in the time dependence explicitly:
 * $$V(t) = \pi [r(t)]^2 h(t) \;\,.$$

So, differentiating with respect to time (using the product rule), we get

 * $$\frac{dV(t)}{dt} = \pi [r(t)]^2 \frac{dh(t)}{dt} + 2\pi r h \frac{dr(t)}{dt}$$

Now, one of the crucial observations here is that the radius of the container is not changing. So we know that

 * $$\frac{dr(t)}{dt} = 0$$

Hence,
 * $$\frac{dV(t)}{dt} = \pi [r(t)]^2 \frac{dh(t)}{dt}$$

Substituting in all our quantities, we can get the answer!

Questions

 * A ladder 5 m long is falling down along the side of a wall without slipping. When the top is 3 m from the ground, how fast is the end of the ladder moving away from the wall?

 * A cylindrical cone is filled with water at a rate of 2 cm3/s. When the height of the water is 10 cm, both the diameter and the height of the water is expanding at a rate of 1 cm/s. What is the slope of the cone?

title: Rate problems in calculus


text:
User:Nuno Santana

Greetings.

I can be contacted thru nmcs2001@yahoo.com

Thanks

title: User:Nuno Santana


text:
Instructional design/Affective behaviors/A Comprehensive Approach to Character Development/e-Learning Module Example Activity

Back to Page Two of this Lesson

Character Education e-Learning Module Review Activity
The e-Learning module we will be reviewing is Teaching and Expecting Appropriate Behavior. You have two choices right now 1) you can either explore and acquaint yourself with the lesson before proceeding with the rest of the activity that is presented below, or 2) you can go ahead and proceed with the rest of the activity below. It is your choice.

Getting Started
What we will be going through is essentially the design document for the Teaching and Expecting Appropriate Behavior module. Since we don’t have the original design document to go through, what we will go through is one that has been “reversed-engineered” based the on the module itself and may not be an accurate reflection of the original design document, but will meet our purposes for what we are trying to accomplish here in using this module as an example of character education instruction.

Background/Instructional Context of e-Learning Module
This Teaching and Expecting Appropriate Behavior module was designed by The Church of Jesus Christ of Latter-day Saints for use within a religious context. It was designed to help Primary (a Sunday School) teachers for children 3-11 years old. Primary classes usually have anywhere from between two and ten children in a class.

The purpose of Primary is to teach children the gospel of Jesus Christ and help them learn to live it. Please see specific objectives of Primary on the Primary page if you'd like more information.

As brought up in the “The Content of Character” section on page one of this lesson, since this example e-Learning Module is for a religious context, “faith-based reasons for leading a moral life (achieving union with God in this life and the next) and the ultimate source of goodness (God’s grace) is taught as truth.” Faith-based reasons serve as the underlying principles for this module.

Audience
The audience for this module is Primary teachers. Teachers can be either men or women and are eighteen years old or older. Teachers will have various experience in teaching. Some may be in the teaching profession and therefore are quite experienced, while for others, this may be their first time teaching a class.

Teacher’s may also be life-long members of the church and have a firm gospel understanding or they may be relatively new to the church and are developing in their gospel understanding. Regardless of how long a teacher has been a member of the church or what their teaching experience is, it is assumed that they understand that Jesus Christ is the ultimate example of good character and it is He that they strive to be like and in turn teach the children to be like.

Needs
Based on feedback from Primary teachers, it was determined that instruction on teaching an expecting appropriate behavior in the classroom was needed. It was determined that the topics of developing love for those they teach, understanding children and their needs, preparing the learning environment, helping children take responsibility, responding to disruptions, and uniting with others to reinforce appropriate behavior were needed.

Learning Objectives
The overall goal of the module is to provide ideas on how to teach and expect appropriate behavior in Primary. Each lesson within the module then has specific objectives. These objectives include:
 * Increasing love for Primary children based on the example of Jesus Christ
 * Understand children and their needs better by being able to recognize age characteristics
 * Understanding children and their needs better by learning about them individually and listening to them
 * Increasing appropriate behavior as they prepare and control the learning environment
 * Learning how to help children take responsibility
 * Learning how to respond positively to negative behavior
 * Learning progressive steps for responding to disruptions
 * Learning how to teach and encourage as you speak privately with a child
 * Knowing how to involve others as needed (parents and leaders)

Presentation
1. Setting Expectations
 * A statement on the purpose of the module (example)
 * A listing of the different lessons within the module so the learner can see what the module covers and also go directly to an individual module if they desire (example)
 * Each lesson also starts out with a quote from a manual the learner is familiar with in order to set the tone of the lesson (example)
 * A page counter is also at the bottom of each page so the learner knows how many pages are in each lesson and what page they are on (example)
 * The title of the lesson is on every page so the learner knows what lesson they are on (example)
 * The time that each lesson should take is not given. This would be helpful for the learner.

2. Gain & Maintain Attention
 * A statement of what the learner will gain by going through the module (example)
 * Questions to stimulate thinking or recall prior knowledge (example)
 * Scenarios and examples the learners can relate to (example 1), (example 2)
 * Different types of content (text, images, audio) (example 1), (example 2)
 * Interactive practice activities (example 1), (example 2), (example 3)

3.	Present Content
 * Used a variety of presentation methods throughout the module (text, graphics, animations, audio clips, interactive elements) (example 1), (example 2), (example 3),  (example 4)
 * Combined animation-narration or text-illustration rather than presenting them separately (example)
 * Text is concise, personalized, and presented in small chunks (see to previous examples)
 * Heading, italics, boldface, etc. are used to organize content (see to previous examples)
 * Graphics and other media added to instruction and are not merely decorative or “fill” the page (see previous examples)
 * Examples and scenarios that mimic the learner’s reality are used (example)
 * A table of content icon is used throughout all of the lessons so learners can select content and “jump” to different sections of the course (example)
 * Although there is a conclusion for each page, usually a quote is used. In addition to this, summaries could be used at the end of each lesson (example)

4. Making the Course Aesthetic Pleasing Look for the following in the example provided above or as you go through the module on your on.

 * “White space” is allowed. There is not too much information crammed on the pages
 * A harmonious color-scheme is used that fits into the context of the online learning environment
 * Template images are used consistently throughout the lessons to set the tone (images of children, scriptures, Jesus Christ, etc.)
 * Graphics are high-quality
 * Audio is high-quality and is crisp and clear
 * Placement of page numbers, navigation buttons, etc. are consistent throughout the lessons
 * Sans-serif font is used for body text since it is more readable
 * A light colored background is used with darker text

Character Education Strategies Used
The lessons in this module use almost all of the twelve strategies presented by Lickona. They are used not only throughout the module for the teacher who is the learner for the module, but these strategies are also used in helping the teacher when teaching in the classroom when the students are the learners.

Some of the most obvious strategies used in this module are listed below. Be sure to look for how these are used in the module as you look at the examples provided above or as you go through the module on your own.

 * Teachers should respect and care about their students, set a good example, and provide directive moral guidance.
 * Create a caring classroom community by helping students to know each other as persons; respect, care about, and affirm each other; and feel a valued member of the group.
 * Help students develop moral reasoning, self-discipline, and respect for others.
 * Involve students, through regular class meetings, in shared decision-making.
 * Teach students what the virtues are, how their habitual practice will lead to a more fulfilling life, and how each of us must take responsibility for developing our own character.
 * Create a positive moral culture in the church by defining, modeling, teaching, and upholding the church's character expectations in all areas of church life.
 * Recruit parents (and leaders) as partners.

Practice & Feedback
Practice Opportunities
 * Practice activities presented in the course reflect the course objectives. (see previous examples)
 * A variety of practice activities are used (see previous examples)
 * Interactive planning guide that can be printed (example)

Provide Immediate Feedback

Please refer to this example for the bullets listed below.

 * Feedback is provided after every practice exercise
 * Praise for correct answers is used
 * Encouragement and explanation of correct answer are used when answer is incorrect
 * Learners are given multiple tries to get the right answer
 * Hints are provided when incorrect answer is selected

Evaluation/Assessment
Assessment of how these lessons helped the teacher in the classroom does not appear to be part of the module.

One assessment, that was previously discussed on page two of this lesson, could be used. That would be an assessment of improvements in student character that can be observed or documented within the Primary class environment. The learner could be asked to think of the children in his/her class and make notes as to whether the content and techniques presented in the module helped with behavior in the classroom. This information could also be shared with the designers of the module if the learners were asked to fill out a survey relating to the effectiveness of the module on classroom behavior. This survey could be added to the last page of the module.

Summary
Overall, this module used character education strategies presented by Lickona well as well as the additional design guidelines presented by Simonson and Maushak as well as those by Smith and Ragan.

Hopefully, by completing this review, you now have specific ideas on how to use certain strategies and design guidelines when designing your own character education instruction.

Back to Page Two of this Lesson


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User talk:Chuck Marean

Hi there, and welcome to Wikiversity! I saw How to clean a toilet and presumed it was a joke, but it's actually a valid piece of information. :-) Would you be prepared to slightly tone down the over the top bits (like wearing safety goggles) and have it as part of a whole section on hygiene? Thanks. Cormaggio talk 13:19, 21 April 2007 (UTC)
 * Looking over your version (the page creation), I see one problem with it: you added Category:Anthropology and Category:Sociology. The resource has nothing to do with those categories, except in the vaguest way that any human activity may have something to do with these fields, and we don't categorize resources based on that. Or would we have every page have Category:Knowledge? Other than that, great resource! If there are problems with it, they can be fixed. --Abd (discuss • contribs) 17:44, 31 August 2014 (UTC)

Don't worry, but Autobiography of Mark Twain, Volume I nominated for deletion
A new user, as first edit, nominated this review of the book for deletion, see Requests for deletion. I looked at your history and just want to make sure you know that
 * You are welcome here regardless of your history elsewhere, as long as you are civil and cooperative here.
 * We almost always can find a way to keep resources. Having that book review in mainspace with that title probably doesn't fit the way we are now organizing wikiversity. However, my strong understanding is that there is a place for this on Wikiversity, it's just a question of where.
 * So don't be disconcerted if the page is moved.
 * If there are problems with excessive "plagiarism" (I rather doubt it, but someone might claim that), that can be addressed.
 * Again, you hadn't contributed for a long time, so welcome back. --Abd (discuss • contribs) 03:07, 2 June 2014 (UTC)

 * As you may have noticed, the deletion closed with keep, I just archived that at Requests_for_Deletion/Archives/13. Meanwhile, archiving that reminded me that the page should be moved. So I did so, it is now at: Biographies/Reviews/Autobiography of Mark Twain, Volume I. I added some information about the review on the page I created to "carry" your review: Biographies/Reviews.
 * I see you have not edited since 2011, when you created this review. You could do more like it, if you like, such as Volume 2, placing them as I placed this one. Work like what you did is very unlikely to be deleted. It may get organized, that's all. In the extreme, now, if something is remotely educational, we may move it to user space. Wikiversity is for learning by doing. Thanks for your work on Wikiversity, I hope you choose to come back, even if only occasionally. --Abd (discuss • contribs) 16:27, 31 August 2014 (UTC)
 * A user in the deletion discussion pointed to an AN discussion on Wikipedia. That was irrelevant here, but it does show your Wikipedia situation. The link was badly formed, this would be a correct one. That comment, my opinion, was improper there, having nothing to do with deletion. Further, there is no sign of any bad faith editing here, and bad faith was not a reason for the community ban, rather, continued cluelessness about how to participate nondisruptively on Wikipedia.
 * What I personally find tragic (not "funny") is that nobody there suggested you learn to edit and work collaboratively here, where it's part of our mission, "learning by doing." In fact, you have done fine here. It is possible that you could even draft Wikipedia articles here, or review existing articles for problems. (Others could propose they be transwikied to Wikipedia, or can follow up on suggestions here.) Properly done, this is a path that could eventually lead to unban on Wikipedia. It would simply take time and patience, and, in the meantime, you are learning. I am certain that, writing that book review, you learned much about Mark Twain. And anyone reading it is likely to do so as well, and even more if someone reads the book and improves the review. (In which case comments should probably be signed.)
 * We can function for "learning by doing" precisely because we don't expect work here to be perfect. And we don't have encyclopedic limitations regarding original research or notability or anything other than what is needed for content to be legally hosted. --Abd (discuss • contribs) 17:20, 31 August 2014 (UTC)

title: User talk:Chuck Marean


text:
File:Egg Yells at Penny w Back.png

Summary
{Information }}
 * Description=Illustrations for the Editing course
 * Source=DAZ Studio and GIMP
 * Date=2007-4-20
 * Author=User:Robert Elliott
 * Permission=Public Domain
 * other_versions=

title: File:Egg Yells at Penny w Back.png


text:
File:Eggbert Yells OS Penny w Back.png

Summary
{Information }}
 * Description=Illustrations for the Editing course
 * Source=DAZ Studio and GIMP
 * Date=2007-4-20
 * Author=User:Robert Elliott
 * Permission=Public Domain
 * other_versions=

title: File:Eggbert Yells OS Penny w Back.png


text:
File:Penny Yells at Egg w Back.png

Summary
{Information }}
 * Description=Illustrations for the Editing course
 * Source=DAZ Studio and GIMP
 * Date=2007-4-20
 * Author=User:Robert Elliott
 * Permission=Public Domain
 * other_versions=

title: File:Penny Yells at Egg w Back.png


text: File:Penny yells OS Eggbert w Back.png

title: File:Penny yells OS Eggbert w Back.png


text: File:Quiz results error 1.png

title: File:Quiz results error 1.png


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User talk:Sciboy~enwikiversity

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Sciboy. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sciboy~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:55, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:21, 19 April 2015 (UTC)

title: User talk:Sciboy~enwikiversity


text: Portal:Life sciences/box-header

title: Portal:Life sciences/box-header


text: Portal:Life sciences/box-footer

title: Portal:Life sciences/box-footer


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Portal:Life sciences/Intro

Welcome to the Life sciences Portal!

This page connects Wikiversity visitors to the learning resources that have been developed by the various Wikiversity Life sciences content development projects. Wikiversity participants who are interested in the life sciences are invited to create and develop learning projects and learning resources and help organize them by developing this portal.

Browse the major Life sciences categories: Biology - Marine sciences - Medicine - Neuroscience - Plant Sciences - Zoology

title: Portal:Life sciences/Intro


text:
User talk:ChaosControl

I tried to fix Portal:Life Sciences. --JWSchmidt 17:48, 21 April 2007 (UTC)

title: User talk:ChaosControl


text:
User:Cbarom

Hello, there! Welcome to my page. I usually work in Korean Wikipedia as cbarom.

title: User:Cbarom


text:
User:Kjoonlee

Hi. :)

title: User:Kjoonlee


text:
Biophilia project

Welcome to the Biophilia Project, a Wikiversity learning project where participants explore the wonders of biology.

Activities

 * Identify exciting recent discoveries about living organisms and add information about them to Wikiversity pages.
 * Create video podcast versions in the style of Wikiversity Reports.

Background
See: Biophilia hypothesis at Wikipedia biophilia: our "innate tendency to focus on life and lifelike processes."

Topics

 * Biophilia Project/Human genetic uniqueness - Triangulating on human genetic uniqueness; building on the Human Genome Project. Review recent results on Neanderthal DNA studies and Evolutionary and Biomedical Insights from the Rhesus Macaque Genome.

title: Biophilia project


text:
User talk:Kjoonlee

Please use a [ new section] or edit a relevant section. Thank you. This page will be archived when the table of contents fills up my view. Kjoonlee 22:32, 21 April 2007 (UTC)

title: User talk:Kjoonlee


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Category:User pt

This category lists native Portuguese speakers.

The other levels of Portuguese knowledge are:
 * 0 for not knowledge
 * 1 for basic knowledge
 * 2 for intermediate knowledge
 * 3 for advanced knowledge
 * 4 for fluent or near native knowledge

For a list of language specific tags, see Babel templates.

title: Category:User pt


text: Template:Clear

title: Template:Clear


text:
Template:Clear/doc

This template adds

 ; for technical XHTML details, see Template talk:Clear.

 * Makes content wait until existing content is completed in all columns. Often used to stop text from flowing next to unrelated images.

Usage
The template should not be substituted, as the markup provided will be confusing to many editors, and this template provides documentation for itself, there is little justification for substitution.

New section without template
See how this section starts at the right of the image?

Example with the template

New section with template
See how this section appears below the image?

title: Template:Clear/doc


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Biophilia Project/Human genetic uniqueness

Triangulating on human genetic uniqueness. This is the first topic for the Biophilia Project.

Outline and sources
Biologists are building on the foundation of the Human Genome Project and comparing human DNA to the DNA of other living primates and DNA isolated from Neanderthal fossils. This is a review of recent results on Neanderthal DNA studies, the Chimpanzee Genome Project and Evolutionary and Biomedical Insights from the Rhesus Macaque Genome.

Script
Welcome to the first podcast of the Biophilia Project. The topic for this first Biophilia adventure is the mystery of the very nature of the human species. What accounts for unique human characteristics such as the ability of children to learn human languages? What changes occurred during human evolution that allowed our species to spread around the world and travel to the moon while our fellow apes remain jungle dwellers?

In ancient Greece, Aristotle imagined that a man's semen was an organizing force that shaped female blood into the form of a new human individual. It was not until the middle of the 20th century that biologists were able to show that it is DNA molecules inside of sperm and egg cells that carry the instructions for crafting a new human organism.

For the past 50 years it has been clear that the structure of the DNA molecules inside our cells holds the genetic program that makes us different from all other species. The Human Genome Project found that our genes specify about 20,000 proteins and a large number of non-protein coding RNAs that control the human form and establish the basic constraints of human nature. Can we compare human genes to those of other animals and learn exactly which human genes account for our features that are uniquely human?

Humans and chimpanzees are derived from a common ancestor that lived approximately 6 million years ago. In 2005, a draft DNA sequence of the chimpanzee genome became available for comparison to the already completed human genome sequence. It was found that human and chimp DNA is so similar that about 30% of human and chimp proteins have identical sequences. In terms of DNA sequences, the observed differences between individual humans and chimpanzees are only about 10 times greater than the typical genetic difference between pairs of humans. With so much similarity in the genes of humans and chimps, can we identify the subtle differences that make humans unique?

In April 2007 a genome sequence for the rhesus macaque became available thanks to the efforts of an international team of primate genome researchers. The rhesus macaque is an important laboratory animal for development of human vaccines and for experiments that allow study of many human health problems. Chimps, humans and macaques are all derived from a common ancestor that existed about 25 million years ago. Comparison of macaque, chimp and human DNA sequences allows us to see if humans or chimps have diverged more rapidly from genetic patterns common to most primates.

About 10% of all proteins have identical sequences in humans, chimp and macaque. While human and chimp DNA sequences have diverged by only 1 to 2% during the past 6 million years, human and macaque DNA sequences are about 7% different on average. By comparing the genes of humans, chimp and macaque can we identify the genetic changes that make us uniquely human?

Sound resources
Image:Peacock Mating Call.ogg

Visual resources
Resources for the video podcast version.


text:
Mandarin/Mandarin One/Lesson One/Lesson One Quiz

Pronunciation

 * The Tones
 * Initials
 * Finals

(5=Highest Normal Pitch, 1=Lowest Normal Pitch) {What is the pitch range for the High Rising tone? - 5-5 + 3-5 - 2-1-4 - 1, 2, 3, or 4 - None of the above
 * type=""}
 * The pitch range for High Flat is 5-5.
 * Correct! The pitch range for the High Rising tone is 3-5.
 * The pitch range for the Low Dropping and Rising is tone 2-1-4.
 * The pitch range for Neutral tone varies according to the preceding syllable.

{What tone number starts from a high of 4 and ends with a low of 3? - 1 - 2 - 3 - 4 - 5 + None of the above
 * type=""}
 * The pitch range for the High Flat tone is 5-5.
 * The pitch range for the High Rising tone is 3-5.
 * The pitch range for the Low Dropping and Rising tone is 2-1-4.
 * The pitch range for the Sharply Dropping tone is 5-1.
 * The pitch range for Neutral tone varies according to the preceding syllable.
 * Correct; no tones in Mandarin correspond to those levels

{What tone number falls from 2 to 1 and then rises from 1 to 4? - 1 - 2 + 3 - 4 - 5 - None of the above
 * type=""}
 * The pitch range for the High Flat tone is 5-5.
 * The pitch range for the High Rising tone is 3-5.
 * The Low Dropping and Rising tone is correct.
 * The pitch range for the Sharply Dropping tone is 5-1.
 * The pitch range for Neutral tone varies according to the preceding syllable.

{What initial sounds are Unaspirated (unvoiced)? - pō, tē, cī, chī, qī, kē + bō, dē, zī, zhī, jī, gē - mō, nē - fō, sī, shī, xī, hē - lē, rī - None of the above
 * type=""}
 * Aspirated - A puff of air is used to make all of these sounds that is stronger than in English.
 * Correct! No puffs of air are produced to make these sounds. The initial b sounds like an unvoiced version of p, d is like t, and g like k.

{The initial sound zhī sounds like what English equivalent? - The "chi" in chirp - The "sh" in shirt - The "j" in jeep + the "j" in "j" in adjure - None of the above
 * type=""}
 * used in the initial sound: chī
 * used in the initial sound: shī
 * used in the initial sound: jī
 * Correct!

{What group of initials are the most different from how they would be pronounced in English, are called Retroflexes, and the sound is made by rolling the tongue back? - pō, tē, cī, chī, qī, kē - bō, dē, zī, zhī, jī, gē + zhī, chī, shī, rī - jī, qī, xī - zī, cī, sī - None of the above
 * type=""}
 * Aspirated - A puff of air is used to make all of these sounds that is stronger than in English.
 * These are unasperated
 * Correct!
 * These are the palatals
 * These are the dental silibants

{How is the final ü written when it there is no initial? - y - u - wu + yu - ü - None of the above
 * type=""}
 * This is not left in a syllable by itself. The "i" sound in a stand-alone syllable is spelled yi.
 * This is not left in a syllable by itself. The "u" sound in a stand-alone syllable is spelled wu.
 * This is spelling of the "u" sound in a stand-alone syllable.
 * Correct!
 * This is not left in a syllable by itself. The "ü" sound in a stand-alone syllable is spelled yu.

{What final sounds like the first part of British English "angst"? - en - an - ung - eng + ang - None of the above
 * type=""}
 * is like un in "women
 * is like ahn
 * This is not a final.
 * Eng is like ung in "rung"
 * Correct!

{What tone is voiced at one of four different pitch levels depending on the preceeding syllable? - 1 - 2 - 3 - 4 + 5 - None of the above
 * type=""}
 * is high flat 1-1
 * is high rising 3-5
 * is low dropping and rising 2-1-4
 * is sharply dropping 5-1
 * Correct! It is the neutral tone.

{What final sounds like won? - wen - uan + un - eng - ung - None of the above
 * type=""}
 * is like wun in "won"
 * is like wahn in the Spanish "Juan"
 * Correct!
 * is like ung in "rung"
 * This is not a final.