F: The biggest misconception is that there are either good or bad writers, when, in fact, writing is about building the skills needed to meet a required rhetorical circumstance and a genre of a given paper, not about being good or bad at writing, in general.

In The Empowered University, Hrabowski and coauthors Philip J. Rous and Peter H. Henderson probe the way senior leaders, administrators, staff, faculty, and students facilitate academic success by cultivating an empowering institutional culture and broad leadership for innovation. They examine how shared leadership enables an empowered campus to tackle tough issues by taking a hard look in the mirror, noting strengths and weaknesses while assessing opportunities and challenges.


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One of the concepts we investigated in movement was called Creativity in Constraint, which has become my approach to helping students and professional writers alike understand methods of using text types, genres, and even the five-paragraph-essay model to not only be successful in sharing a communicated message but also be more creative.

Suddenly, light bulbs were going off all over the place. Everyone had something to say about the creative process and writing essays. Often, they came up with ideas I hadn\u2019t thought of or gave us issues to debate. The students were actively internalizing their process as writers and understanding essay writing as a creative act.

This might seem like an unrealistic idea in an age of common core standards and high-stakes tests -- what if students veer drastically off the required course? However, this is actually entirely possible to incorporate with existing curriculum. For instance, if you teach language arts and the goal of the unit is teaching students how to write an effective response to literature or a literary analysis essay, who says everyone has to write about the same book written by some ancient dead writer (no offense, dead writers)? Besides, if you're already scared of writing your very first response to literature, having to decipher ancient syntax isn't going to help. So instead, why not have students pick a book of their own choosing -- a novel like The Hunger Games, even (gasp!) a graphic novel like Marjane Satrapi's Persepolis, or even (double gasp!) a smart comic book like Bill Watterson's Calvin and Hobbes? All these works provide plenty of themes to analyze and are compelling reads. You could turn this response to literature unit into a book club unit where students make cases for picking their suggested book to be read and analyzed by the rest of the class. This student-directed curriculum idea is applicable to many other subjects. Giving students the power to choose creates a sense of ownership over the learning.

To empower a female "...sounds as though we are dismissing or ignoring males, but the truth is, both genders desperately need to be equally empowered."[9] Empowerment occurs through improvement of conditions, standards, events, and a global perspective of life.

In social work, empowerment offers an approach that allows social workers to increase the capacity for self-help of their clients. For example, this allows clients not to be seen as passive, helpless 'victims' to be rescued but instead as a self-empowered person fighting abuse/ oppression; a fight, in which the social worker takes the position of a facilitator, instead of the position of a 'rescuer'.[11]

This book is a must read for teachers, regardless of their position or experience. While reading the book, I felt like the authors were in the room with me, encouraging me to reflect upon my practices, challenging me to see beyond my group of students, and showing me how to take control of my own professionalism. It doesn't take long to read, and it isn't encumbered with difficult jargon. Read a chapter at at time, or read the whole book at once, either way you will easily reflect upon your own teaching situation, and you will come away from the book empowered with the affirmation you need to make a difference in your community and our profession.

We must carefully examine the possibilities and limits of the approaches to empowerment we choose. Efforts focused on building individual skills and capacities, for example, may overlook opportunities for supporting more collective, community-based forms of social action. In concise chapters, the book maps out a range of ways that people can be empowered along different continuums of power, moving from more familiar forms of teaching and counselling to less common and more radical strategies for fostering solidarity and civil resistance.

Empowerment at the community level is people uniting to accomplish common goals. Two underlying assumptions exist in the literature regarding empowerment and the community. First, every person has the potential to become empowered. Second, it is an assumption that empowered communities develop from empowered individuals working together to achieve a mutual goal for that community. Fostering relationships within the community is an integral part of successful empowerment.

If empowerment in the community emerges from the individual, how does the person gain the skills to be empowered? In cognitive psychology literature, empowerment means to enable one to act. Psychological empowerment at the individual level is a link between a sense of personal control and efficacy and a willingness to change and take action. Empowerment is a process enabling individuals to understand the relationship between their actions and outcomes, allowing people the power to achieve the results they desire.

Empowering nursing staff to be more active participants in patient care will result in improved patient outcomes, as nurses become more clinically competent and relevant and are empowered to interact and provide input regarding patient care instead of merely being agents who blindly follow orders from clinicians. This will also reduce medication and other medical errors, resulting in improved patient outcomes. [Level 5]

"Conversations on Love" is a captivating collection of intimate discussions with renowned thinkers and writers such as Philippa Perry, Dolly Alderton, Roxane Gay, and Esther Perel. Natasha Lunn delves into the complexities of love, exploring its various forms and the impact it has on our lives. Through these insightful conversations, readers gain a deeper understanding of the intricacies of love, relationships, and the human experience.

"The Opposite of Loneliness" is a collection of essays and stories written by a talented young writer. This book explores themes of youth, love, ambition, and the fear of the unknown. With a mix of humor, vulnerability, and insight, the author captures the essence of what it means to be young and hopeful, while also acknowledging the complexities and uncertainties of life. Through her powerful and relatable writing, she invites readers to reflect on their own experiences and find solace in the shared human condition. 2351a5e196

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