Contemporary popular culture has created a slew of stereotypical roles for girls and women to (willingly or not) play throughout their lives: The Princess, the Nymphette, the Diva, the Single Girl, the Bridezilla, the Tiger Mother, the M.I.L.F, the Cougar, and more. In this book Ames and Burcon investigate the role of cultural texts in gender socialization at specific pre-scripted stages of a woman's life (from girls to the "golden girls") and how that instruction compounds over time. By studying various texts (toys, magazines, blogs, tweets, television shows, Hollywood films, novels, and self-help books) they argue that popular culture exists as a type of funhouse mirror constantly distorting the real world conditions that exist for women, magnifying the gendered expectations they face. Despite the many problematic, conflicting messages women receive throughout their lives, this book also showcases the ways such messages are resisted, allowing women to move past the blurry reality they broadcast and toward, hopefully, gender equality.
ASQ-3 Questionnaires are the most cost-effective, reliable way to screen young children for developmental delays in the first 5Â½ years of life. Available in English or Spanish, the 21 age-appropriate questionnaires (2, 4, 6, 8, 9, 10, 12, 14, 16, 18, 20, 22, 24, 27, 30, 33, 36, 42, 48, 54, and 60 months) effectively screen five key developmental areas: communication, gross motor, fine motor, problem solving, and personal-social.
Fast and easy to use, ASQ-3 Questionnaires take just 10-15 minutes for parents to complete and 2-3 minutes for professionals to score.
First, parents try each activity on the questionnaire with their child, checking the box that best describes what the child can do. Clear questions, illustrations, and tips help parents complete the questionnaires quickly and accurately. Professionals then record the scores, easily converting parent responses to numbers (Yes = 10, Sometimes = 5, Not Yet = 0). They copy the child's scores to a simple grid that gives an at-a-glance picture of current developmental skills:
ASQ-3 Questionnaires are provided as photocopiable master copies on paper and printable PDF master copies on CD-ROM (both in the same box, so programs will always have the format they want right at their fingertips). Downloada sample 16 month Spanish questionnaire anda sample 48 month Spanish questionnaire.
The Questionnaires are part of ASQ-3, the bestselling screener trusted for more than 15 years to pinpoint delays as early as possible during the crucial first 5 years of life. Learn more about the completeASQ-3 system, and discover ASQ:SE, the screener that reliably identifies young children at risk for social or emotional difficulties.
From the INTRODUCTION. I have read with much interest and no little instruction the leaves of Mr. Austin Fryers' brochure, and now that I take up my pen to write an introduction to them, I pause, confronted with the conviction that but little remains to be said on the subjects he has so exhaustively dealt with. To cumber the arguments which he so lucidly puts forward, would be a ridiculous excess of verbiage; while to agree with them in detail would involve oneself in that responsibility which most wise editors disclaim. Of the moral influence of the stage I do not think it is necessary to speak, except to say that a play is only moral or immoral in so far as its tendency is this or that. Even Puritans, some of whom I am told survive to this day, have probably come to the conclusion that morality is independent of vocation. Should any peculiar people exist who (not reading the records of the daily papers) believe that the stage has a monopoly of indiscretion, I need only refer them to what Mr Fryers has written on the subject. The chapters on the technicalities and varying circumstances of life and business in the theatrical profession are illuminating and instructive, because Mr Fryers, an observant and sympathetic critic, writes of them from personal experience. He lays bare many facts which are new to me and, I confess, somewhat startling. Such information is of advantage to all of us who strive for the elimination from our calling of those conditions which make for the undoing of the unwary. In the theatrical profession there are, of course, many pitfalls, and knowledge of the cold and grim business-aspect whose seams are visible from the other side of the footlights must prove of service to those who think of "going on the stage" to earn a livelihood. It is well that an able writer, not wholly imbued with professional views and aspirations, should have made such an intimate inspection of the "mean streets" of the profession. The effect of this little book may be to pull down some of the slums and rookeries. That I should find myself in agreement with Mr. Austin Fryers' views in favour of the necessity for dramatic training I fully anticipated, for I have had the privilege of knowing for many years past that he was confirmed in this true faith. My own endeavour - which, I am happy to say, promises to be entirely successful - to found a School of Dramatic Art has aroused not a few storms in some theatrical teacups. The habit of "writing to the papers" appears to be widespread and incurable; it has taken an epidemic form over my project(?). These microbic organisms were hatched by Mr. Wilson Barrett. At the inauguration of my school, he sent me a message of frank, breezy, and hearty condemnation of the project; but, in the same electric breath, he offered, with a charming inconsistency, to pay for three scholarships. Thus, his vote of censure was turned, by his own amendment, into one of confidence. Mr Barrett has acquired, not unnaturally , the habit of rescuing maidens in distress, and in this quixotic spirit he has mistaken for one of these that matronly person, the British Drama, on whom no one has laid a hand - "except in the way of kindness." I know how a simple direct truth will always go straight to the hearts of the majority (unthinking or otherwise). As an instance of the success of the direct appeal, I recall that of an author-actor at Drury Lane, who, realising that the play was going badly up to the end of the second act, came to the footlights at the psychological moment, and, throwing himself into a heroic pose, exclaimed: - "A British sailor ... is NOT ... a woman ... but ... a man!" The School of Dramatic Art, instead of over - stocking the profession, or introducing the incapable, will have the directly contrary effect of reducing the ranks of the profession to the limits of capability. In a private school run for profi....t, .....