The role of instructors is evolving from the presenter of information to the designer of active learning processes, environments, and experiences that maximize student engagement. The more active a lesson, the more students tend to engage intellectually and emotionally in the learning activities. Cooperative learning is the foundation on which many of the active learning procedures are based. Cooperative learning is the instructional use of small groups so that students work together to maximize their own and each other`s learning. The five basic elements that are required in any cooperative learning lesson are: positive interdependence, individual accountability, promotive interaction, social skills, and group processing.
and womanhood [she] normally approaches the City clothed in man’s clothing” (p.420). In this unique situation, the seventeenth century show mirrors that the wear of male garments was related with female sexuality. Moll’s male clothing is viewed by individuals as an indication of her disappointment, that is the reason society denounces this female in different violations, like prostitution and burglary. Consequently, clothing possesses a significant situation in the show of that period, as it permits the writers to reveal a few get-togethers and relations between sexes. Specifically, the show shows that society of the seventeenth century viewed attire as a device that could state social and orientation standards, and, assuming that an individual dismissed the laid out standards for dress, he/she was remembered to go against to other normal practices, like marriage. As Catherine Belsey (1985) puts it, “Marriage becomes in the sixteenth and seventeenth hundreds of years the site of a dumbfounding battle to make a confidential domain and to assume command over it in light of a legitimate concern for a public decent” (p.130). Thus, such individual was avoided from society, since he/she didn’t follow the fitting style of life. As per Howard (1991), “[she] questions that [in the public theatre] just ladies’ modesty or ladies’ notorieties were in danger… The actual act of playgoing set ladies in places possibly agitating to man centric control” (p.72). Pointing at the significance of clothing, Dekker and Middleton (1955) certainly scrutinize wrong belief systems of society towards sexes. As per the writers, changes of attire show different social and social changes: “Presently in the hour of spruceness, our plays follow the superbness of our articles of clothing” (Dekker and Middleton, 1955 2.6-7). Toward the start of the play Dekker and Middleton (1955) show that Mary Fitzallard, another female person, is “masked like a sempster” (1.1.16), her straightforward clothing uncovers her having a place with a low class, despite the fact that Mary’s camouflage is pointed toward accomplishing a specific objective. As Mary understands that normal practices keep her from wedding an individual she cherishes, she chooses to change her clothing. Each time when Moll and Mary put on something else, they weight on the meaning of clothing in the public arena they live. Their apparel shows their way of life and qualities of character, all the while it uncovers stupidity of those individuals who are distracted with the laid out design norms. Sir Alexander can’t figure out Moll’s wear of male garments; he thinks about that such activity obliterates the customary division of sexes. His assessment of Moll is primarily founded on her attire, he recognizes this female person with her dress, neglecting to understand her actual self.
Moll’s difference in garments portrays the young lady’s desire to obliterate these normal generalizations. As Kastan and Stallybrass (1991) bring up, “acting itself takes steps to uncover the counterfeit and inconsistent nature of social being” (p.9). Subsequently, the difference in clothing permits the characters of such dramatizations as The Roaring Girl and ‘Tis Pity She’s a Whore by Ford (1968) to uncover simulation of the current normal practices towards different parts of life. Then again, it furnishes them with a chance to disguise their actual personality or social situations for a period being. A few characters use explicit veils, for example, the characters of Shakespeare’s play The Tempest. In such manner, clothing is huge for the seventeenth century show, on the grounds that the ensembles of the characters make a solidarity of a picture. In The Tempest clothing uncovers the relations among various characters, their social and financial status, as well as a specific verifiable period. Specifically, structures and lines of outfits in Shakespeare’s play uncover design guidelines of the seventeenth hundred years, while surfaces and shades of clothing connote social places of his characters. As Stephen Orgel (1996) claims, “Garments make the man, garments make the lady: the ensemble is of the embodiment” (p.104). A few ensembles, similar to the outfits for Jonson’s play The Masque of Blackness were truly costly and remarkable, on the grounds that they were used in unambiguous plays (the masques) performed for the individuals from the illustrious
