Cultural Competence Reflection

 

 

Where do you see yourself on the cultural competency continuum chart and why? Support your placement on the continuum chart with your position regarding specific controversial, culturally-based issues that affect K-12 education. http://www.eri-wi.org/download/conference/2013-conference/20_h_WhyDoesntEveryone_chart.pdf
What will it take for you to get to the next step or to deepen your cultural competence, including understanding your own personal bias, teaching in a diverse classroom, and implementing strategies for ensuring a safe and supportive classroom for all students?
What are some specific research and readings, tools, resources, or training you might use to further your cultural competency as an educator?
What will it look like to have cultural inclusivity in your future classroom?
How will you ensure you are respecting students as individuals with differing personal backgrounds and various skills, abilities, perspectives, talents, and interests that do not align to your spiritual beliefs and moral values?

 

 

Sample Solution

 

 

 

 

Fiery blaze and Canterbury Tales

1 Pages 330 Words

The openings to both Dante’s Inferno and Chaucer’s Canterbury Tales follow strict excursions; Dante’s storyteller investigates the great beyond while Chaucer’s characters start a conventional journey from London to Canterbury. The two excursions happen during spring, a season regularly connected with development and restoration. Chaucer starts by depicting the season; he states, “Whatn that April with his showres soote/The dry spell of March hath perced to the roote/And washed each vein in swich licour… ” (lines 1-3). Dante’s storyteller alludes to the setting when he says “… so I was urged to look with better expectation the monster… when of day, the pleasantness of the period.” (lines 41-44). Regardless of these regular components, the excursions have various qualities, giving every story a particular tone; one appears to be spooky and erratic while the other is light and straight forward.

In contrast to Chaucer’s travelers, who are furnished with a timetable and set up way, Inferno begins with disorder and vulnerability. The storyteller portrays himself “adrift in a dim wood where the straight street had been dismissed. That it is so difficult to state what it resembled in the main part of bushes, in a wood so thick and twisted its very idea reestablishes my frenzy.” (lines 2-6). This physical portrayal of the way and woods matches his dread. Virgil’s proposal to show him “an unceasing spot where you will… see those tragically missing spirits in torture” trailed by those “among the favored,” furnishes the storyteller with course and he rapidly acknowledges. Tolerating this offer powers the storyteller to give up control of his own future.

Like the storyteller of Inferno, the pioneers in Canterbury Tales are additionally devotees; others have just finished the excursion they are going to start. Albeit one outing is arranged and the other very surprising, the common part of believing an endorsed way mirrors the premise of religion, which requires its follow…

 

 

 

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