Does Louisianas Statute Enacting A Balanced Treatment For...

Does Louisiana’s statute enacting a balanced treatment for Creation-Science and Evolution-Science violate the Establishment Clause of the First Amendment? Louisiana legislators established the Louisiana Balanced Treatment for Creation-Science and Evolution-Science in Public School Instruction Act. The Act forbids the teaching of the theory of evolution and the theory of â€Å"creation science† in public elementary and secondary schools unless accompanied by the instruction of the theory other. The Act defines the theories as the scientific evidence for creation or evolution and inferences from those scientific evidence. The lower courts established that the Act violated the Establishment Clause of the First Amendment because it lacked a clear secular purpose. Delivering the Opinion of the Court, Justice Brennan invokes the Lemon test to determine the constitutionality of the Act. He begins by questioning the validity of the Act’s stated secular purpose: â€Å"to promote academic freedom.† He defines â€Å"academic freedom† as â€Å"enhancing the freedom of teachers to teach what they will† (Brennan 2579). Based on the legislative history, the purpose of the legislative sponsor, Senator Bill Keith, was to narrow the scientific curriculum because he stated that his preference would be that neither theories be taught. Thus, J. Brennan sees a ban on teaching that undermines the stated purpose. Moreover, he writes that the Act does not promote a flexibility upon the teachers that was not already

The Problem Of Homelessness And Homelessness - 889 Words

The United States is a country of wealth, prosperity, and opportunity, yet a large number of people are still homeless. Many people become homeless or lose their houses for different reasons. In Maryland alone, more than 50,000 people experience homelessness annually (Health Care for the Homeless). Before a family or an individual becomes homeless, they go through a series of devastating occurrences that are mostly unintentional and sudden. Some people become homeless from causes such as a family dispute, divorce, substance abuse, or gambling. The problem of homelessness is not easy to solve, but people need to understand that some of the prominent causes are a mental disorder, illness, loss of a job and domestic violence. One of the leading contributing factors in homelessness is mental illness. In many cases, before people become homeless, a mental illness disorder has occurred, which might result in loss of employment. In the United States, between 20 and 25 percent of homeless people are suffering from mental illness (Quigley). Mental illness was the cause of David Pirtle from Phoenix, Arizona, becoming homeless. He was working as a restaurant manager before he began to suffer from schizophrenia disorder. Because of his disorder, he was unable to retain a job. For over a year, Pirtle lived on the streets in Washington, DC. To survive everyday life he resorted to shoplifting among other things. Ultimately, he says that shoplifting led to his arrest and placement in aShow MoreRelatedHomelessness : The Problem Of Homelessness1350 Words   |  6 PagesHomelessness There are many parts to the subject of homelessness, of course people talk about the solutions to it like The Ten Year Plan, then there is the history of it starting from the 1640’s. Also there is discussions about Homeless Shelters and more recently Anti-homeless Legislation. Then there are always the staggering statistics. The homeless is a very one minded topic for most. Most people think that the homeless should be helped, cared for, and educated for success. This is true (at leastRead MoreHomelessness : The Problem Of Homelessness1479 Words   |  6 Pages Homelessness Do you think the government is really doing enough to fix the issue of homelessness?According to Lee, Dozens of homeless were left with nothing after a local Seattle organization (SHARE) closed its shelters (Lee, â€Å"Dozens of homeless camp out at county building after SHARE closes its shelters†). How could the government just let these people live without shelter? It even got to the point where the homeless were camping outside a county building because they had no other options.Read MoreHomelessness : The Problem Of Homelessness1379 Words   |  6 PagesAlthough the numbers of homelessness in the States have decreased in the past 10 years, more than 3.5 million people each year experience homelessness, with 578,424 individuals experience homelessness each night (endhomelessness.org). Many poverty-stricken people are consistently at the risk of homelessness; there is a lack of affordable housing, many jobs provide low income, and destitute people cannot afford medical care for support. However, homelessness does not only extend to the penniless -Read MoreThe Problem Of Homelessness And Homelessness Essay1286 Words   |  6 Pagesled to homelessness. These barriers may be a numerous amount of things such as substance abuse, personal trauma, unhealthy relationships, health problems, or unemployment. No matter the barrier, goals need to be set and must be realistic. If the goals seem impossible to reach they will be. Finally, there must be a commitment to following through with the set goals and a realization that this is an ongoing process that will not change overnight. There is a misinformed stigma of homelessness, whichRead MoreHomelessness : The Problem Of Homelessness Essay1182 Words   |  5 PagesThe Problem: Homelessness in Auckland Homelessness is a major issue in Auckland that is increasing rapidly over time. Generally defined by Statistics New Zealand â€Å"as living situations where people with no other options to acquire safe and secure housing: are without shelter, in temporary accommodation, sharing accommodation with a household or living in uninhabitable housing†, research has also found that there are four categories of homelessness including; without shelter e.g. living on the streets;Read MoreHomelessness Is A Problem Of Homelessness1658 Words   |  7 PagesHomelessness in Society Imagine you are homeless and have no shelter, or nowhere to go. You walk through storms in the same clothes you had on a week ago. You look around for help, but there is none. What would you do? Or imagine you are one of the forgotten ones, whom people call dirty, and disgusting. Suddenly you hear footsteps, with hope filled inside you, and then a sudden sadness strikes you as the 1378th careless person walks by you and doesn t notice you. 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We can’t imagine ourselves being lost or not knowing where to go or what to do. Spending every day and night either depending on someone else or finding a shelter where you can have a nap. Waking up with the noises of the cars and otherRead MoreHomelessness Is A Problem Of Homelessness1610 Words   |  7 PagesHomelessness is a monster. Each day, there are people on the streets suffering from homelessness. These unsheltered people litter the streets, and plead for help. There are different types of homelessness, but the most monstrous is chronic. The chronically homeless are left to endure the hardships of homelessness without hope of an effective solution. Americans disregard all homeless populations, but the most heart wrench ing group that is disregarded is the veterans. The veteran homelessness problemRead MoreHomelessness : The Problem Of Homelessness1584 Words   |  7 PagesHomelessness Awareness At some point in their life, a person has seen or heard of an individual who lives on the streets. The individual who lives on the streets and holds a sign that says they need money for food is consider homeless. Sadly, these individuals are everywhere and the amount of people under this title is slowly increasing. However, in this nation we have the ability to begin decreasing that number. By providing the necessary amount of assistance required to place these individuals

Ron Daniels finds the space inside Shakespeare Essay Example For Students

Ron Daniels finds the space inside Shakespeare Essay Ron Daniel wanted to begin his third season as associate artistic director of American Repertory Theatre in Cambridge, Mass. with a special event an occasion, something that presumably wouldnt often be seen in the Boston area. He and artistic director Robert Brustein decided that Henry IV, Parts I II would more than adequately fill that bill. The twin masterworks provide a sweeping, complex view of life, from court to tavern, from brothel to battlefield, and explore relationships as diverse as fathers and sons, and cutpurses and victims. Danielss association with Brustein extends back to the 1970s, well before his long and impressive affiliation with Englands Royal Shakespeare Company, but it has been his commitment to Shakespearean production on both sides of the Atlantic which is perhaps the most distinctive feature of his career. Shakespeare has proven to be Danielss natural stomping ground. Over the years he has marveled at the playwrights imagination, stylistic daring and apart from anything else, his wonderful ideas and thoughts and words. His interpretations stem from a long immersion in the canon and from noticing the same notions and the same obsessions being worked out time and time again in different ways. The plays have so many dimensions which are continually interlocking, but so bravely, boldly and generously that its wonderful. its thrilling. As former director of the RSCs tiny Other Place in Stratford-upon-Avon, which is largely devoted to contemporary writing, and now head of Harvards Institute for Advanced Theatre Training, Daniels is as interested in new works and artists as he is in the classics. Part of the job at the Institute is his active search for young playwrights. The RSC policy of radical contemporary work alongside innovative Shakespeare is what Ive grown up with, he notes. Its what interests me, and I hope to teach young people. But because Shakespeares scope is so wide, for Daniels it knocks everything else out of existence. As a result, the pattern of his career has been to do two or three new plays followed by a season of Shakespeare. The idea is to actually keep feeding both the discipline and the dramaturgical skills that one develops through working with Shakespeare into the work with new writing while at the same time keeping the Shakespeare contemporary and free of any sort of cobwebs, he ventures Danielss aversion to received Shakespeare what he calls thatched-cottage Shakespeare, are where you wear tights and doublets and flowing hair, and its all rather beautiful the idea that this is a classical work and this is the way it should be done is one of the most striking characteristics of his approach. His ideas are bold and thought-provoking, if not always tailored to the tastes of the critics. He treats the plays in an array of visual styles which broaden the setting and, consequently, the world of the play. Danielss Hamlet, for example, a collaboration with set and costume designer Antony McDonald, presented a world that was literally out of joint; none of the windows or doors of the set stood at right angles, and the emotional outbursts of the pajama-clad prince (the remarkable Mark Rylance) kept us wondering how feigned his madness truly was. THE HENRYS WERE PRODUCED with similar flair. Conceptually, Danielss interpretation was not affected by the fact that he was producing the play in America, but the visual images he created with set designer John Conklin were anything but Eurocentric. You can even say that the paradigm for this design is the American barn, and it is inside this barn that this nation evolves its history, the director suggests. In spite of doing a lot of research and background work, I am not particularly interested in the historical aspects of the play. I am interested in the political and personal aspects. England is a fictitious nation, as far as Im concerned. The characters in the play are all preoccupied about how this nation is to be governed, or is being governed; the roots of the civil war are in a democratic movement that was created, in a sense, with the end of the divine right of kings. .u976223f9e6d01d151494d97ddaa06dee , .u976223f9e6d01d151494d97ddaa06dee .postImageUrl , .u976223f9e6d01d151494d97ddaa06dee .centered-text-area { min-height: 80px; position: relative; } .u976223f9e6d01d151494d97ddaa06dee , .u976223f9e6d01d151494d97ddaa06dee:hover , .u976223f9e6d01d151494d97ddaa06dee:visited , .u976223f9e6d01d151494d97ddaa06dee:active { border:0!important; } .u976223f9e6d01d151494d97ddaa06dee .clearfix:after { content: ""; display: table; clear: both; } .u976223f9e6d01d151494d97ddaa06dee { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u976223f9e6d01d151494d97ddaa06dee:active , .u976223f9e6d01d151494d97ddaa06dee:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u976223f9e6d01d151494d97ddaa06dee .centered-text-area { width: 100%; position: relative ; } .u976223f9e6d01d151494d97ddaa06dee .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u976223f9e6d01d151494d97ddaa06dee .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u976223f9e6d01d151494d97ddaa06dee .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u976223f9e6d01d151494d97ddaa06dee:hover .ctaButton { background-color: #34495E!important; } .u976223f9e6d01d151494d97ddaa06dee .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u976223f9e6d01d151494d97ddaa06dee .u976223f9e6d01d151494d97ddaa06dee-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u976223f9e6d01d151494d97ddaa06dee:after { content: ""; display: block; clear: both; } READ: When Shakespeare was alive going to the theatre was a lot different than it is now EssayTwo completely different eras unfold. The world of the court is created with images from the American Civil War, while Falstaffs tavern world is very much of the 1990s, with a punk Prince Hal (Bill Camp) and his biker buddies. Some critics found such anachronisms distracting, but Daniels maintains that his interpretation is by no means cynical. This is an interpretation of integration of how this young man is very cleverly synthesizing within himself the feminine and masculine principles. The interesting thing about the play is the way it brings the warring aspects of a nation together through the person of the new king, who is himself a synthesis of these opposing forces. Is Daniels consciously working against received notions of Shakespeare? The approach to a certain extent has got to be, I have never heard of this play before, I have never seen this play before, I dont know what Im going to do with it. He laughs when he continues, I keep on thinking of Shakespeare as a very promising playwright. I am not trying to be perverse. Im just responding to the text. FOR DANIELS, THIS RESPONSE is always manifested through bold set designs. His designers are his richest collaborators, and he believes it is they who expand his ideas. In any play, you are constructing a world and constructing a culture, and one has to take it for granted that audiences do not understand a hundred percent of Shakespeare. You dont have to compensate for that, but you have to do exactly the same thing as you do in directing a new play-you create images that you hope are bold enough, and you attempt to tell the story physically, so somebody who is a total foreigner should understand the story without any difficulty. This sort of emphasis on visuals, critics have complained, is sometimes achieved at the expense of the language in Danielss productions. But the director makes the case that it is a combination of the two which make a clear and strong production. The extraordinary thing about it is that Shakespeares going to survive hes going to survive my treatment of his plays and my next-door neighbors treatment of them. But that doesnt make the job of actually doing the plays necessarily any easier. The difficulty is managing to be respectful but not reverential. His mind is much bigger than mine, but I have to find my space within it, respecting the text. Shakespeare gives you that space, so its not necessary to play silly tricks with the work. You can blow it apart from the center while being respectful to the ideas and the notions, even to a very large extent his dramaturgy, which is sine qua non. If Daniels sees Shakespeare as a great synthesizer, the Brazilian-born director acknowledges that his work in America represents a synthesis as well. In many ways being in this country allows me to be searching to be synthesizing, if you like, both my Brazilian roots and my English development over the past 21 years. The result, I hope, is something more American, more of this hemisphere, than it is English.