Huwebes, Disyembre 24, 2015

Speech choir competition

A Speech Choir Competition was held last December 22, 2015 at Asia Pacific College's Auditorium. We were the 3rd participant. And all of us are nervous on what will happen in the stage. But the time we step on the stage the nervous that I'm saying awhile ago... It was all gone we were filled with confidence and did our responsibility as a speaker. Even though we did not win it's okay because I know that time will come that we are going to win in competition. 


It's true that in order for us to win the war we need to lose small battles. Just like in the speech choir competition maybe it's God's will for us to lose because he wants us to win in a bigger competition. And I'm pretty sure that we will win the next competition.

Ignite speech competition

Last December 22, 2015 an Ignite speech competition along with the speech choir competition was held at Asia Pacific College's auditorium. Even though we did not won in the speech choir competition at least our representative Benjamin Bajet won in the Ignite speech competition. It was an honor to have a blockmate who has an excellent talent in public speaking. I wish I had his gift in speaking. But I know that everything can be learned just love what you are doing and you will succeed in everything. 


I believe in this saying by John Ford" You can speak well if your tongue can deliver the message of your heart" meaning if you will just say what's in your heart about you feel and about opinion on certain topic you could be a good speaker someday because you're true to yourself and to others that's listening to you. You are not giving them false statements. 

Public speaking competition



Last December 21, 2015 a Public Competition was held at Asia Pacific College. And I was part of it, I mean I was a participant during the event. All in all there were 30 participants. We were assigned to different rooms in the 7th floor to deliver our speeches about " The Cult of Celebrities and Fantasies a Filipino obsession?"  I was assigned to Discussion room B. Although I wasn't able to be part of the Final 9 to push through to the finals. It's okay at least I had an experience in public speaking. Let me share to you my speech.

“The Cult of Celebrities and Fantasies. A Filipino Obsession?”

Good Day to all of you! Today I will discuss about the cult of celebrities. Yes, you did hear me correctly. It would never cross your mind to put those two words in a sentence right?  I just did. 
So what is this cult I’m talking about? Cult pertains to a group of people with fresh ideas and deviant beliefs. Figuratively speaking, I will be tackling the positive and negative effects of these celebrities in our lives. By definition, “fanaticism” is an excessive display of obsession or interest to a certain thing, belief or person. Presently the society is dictated by the power of social media. It is manifested in several ways. It could be in a form of massive collection of Harry Potter souvenirs and the like. It could be looking up to a legendary basketball player like Kobe Bryant. It could be attending various fan meet ups, taping or watching your favourite so called celebrities. Have we gone too far that the admiration has become an obsession? In our generation today, we strive so hard to imitate and recreate these personalities among us.
With the unending and unchanging news we get in politics, we couldn’t blame Filipinos resorting and paying more attention in the show business industry. It drives us away from the more serious problems we should be facing. To be more concrete, a perfect example of celebrity idolatry or fanaticism is the fans of the very popular “Aldub” love team, which apparently filled the entire Philippine arena. It created a massive attention and sensation not only nationally but worldwide. They are trending in Twitter. They are the topic in Facebook posts and news feed. They are the topic of conversations among circles of friends. They have dominated. They are so famous and hyped up, that even writers from different parts of the world have written an article about them.
I have to admit Filipinos find joy in simple things and that’s one thing I’m proud of. We could win the heart of foreigners with our smile. These celebrities make us happy in a way no one would understand.  In line with this, we are moved with how an ordinary girl has made a name in the competitive world of showbiz. It somehow serves as an inspiration to others.
On a personal note there is nothing wrong in being a fan. I for one is a fan. It is inevitable to admire people with great talent or beauty. We are fascinated by these celebrities. Who wouldn’t? It is their job to entertain us. It is self-affirming and fulfilling. We feel happy when they are successful and disappointed when they are going through difficult times. We empathize and sympathize. What I believe is wrong is when it affects your relationship to people, it destroys moral obligations and it goes beyond ethical duties. That’s when I call it cult of celebrities.
I have seen a show before depicting the life of a die-hard fan who almost gave up everything for a celebrity. This person is a smart one who excels in class, the pride and hope of his family.  He got too involved into a fans club of a particular celebrity. He forgot his tasks as a student. He began to skip classes just to watch a shooting or taping of a movie. He spent his allowance in doing projects or holding events to show support to the celebrity he admires. He got into arguments and fights defending this celebrity against his haters. He started to lie to his parents for not joining them in their church just to watch an interview for this celebrity. He goes home late because he was too busy doing bits and pieces of a fan’s life. He failed to fulfil his role as a son, as a student and as a child of God.
Moreover let’s recall the Kylie Jenner Lip Challenge, which ruined the naturally beautiful lips of the teens who went for it. Instead of engaging oneself in real life challenges, which are more essential, we find ourselves wasting our time with things like this.
In conclusion, Filipinos are heavily influenced and or in more favor of celebrities and fantasies.

Biyernes, Disyembre 4, 2015

Media Literacy: Mobilizing the Millennials as Socially Responsible Prosumers


On the 25th of November 2015, a seminar entitled "Media Literacy: Mobilizing the Millennials as Socially Responsible Prosumers". The seminar was held at the Asia Pacific College Auditorium. The objective of the seminar was to develop sense of social responsibility among RAMpage editorial staff and APCians in general; and To create a discourse on media literacy among APCians. 

There were three speaker. All of them came from a Television network (GMA). Ms. Edmallyne Remillano as the head writer for the State of Nation with Jessica Soho and the secretary; Ms. Jan Maynard Nualla as the program producer for Global Conversations on CNN Philippines and affiliated with Talents Association of GMA Network and Society of Asian Journalist. Ms. Lian Nami Buan as the associate producer for segments on the State of Nation with Jessica Soho, Associate Editor for Subselfie.com and affiliated with Talents Association of GMA Network. These speakers are good because they were able to convince us that all of us can be news reporter. That through media we can say what ever we want that can help our society. Each speaker has different focus or topic.

What is important to understand is that media literacy is not about "protecting" kids from unwanted messages. Although some groups urge families to just turn the TV off, the fact is, media are so ingrained in our cultural milieu that even if you turn off the set, you still cannot escape today's media culture. Media no longer just influence our culture. They ARE our culture.
Media literacy, therefore, is about helping students become competent, critical and literate in all media forms so that they control the interpretation of what they see or hear rather than letting the interpretation control them.
To become media literate is not to memorize facts or statistics about the media, but rather to learn to raise the right questions about what you are watching, reading or listening to. Len Masterman, the acclaimed author of Teaching the Media, calls it "critical autonomy" or the ability to think for oneself.
Without this fundamental ability, an individual cannot have full dignity as a human person or exercise citizenship in a democratic society where to be a citizen is to both understand and contribute to the debates of the time. source
Media literacy represents a necessary, inevitable, and realistic response to the complex, ever-changing electronic environment and communication cornucopia that surround us.
To become a successful student, responsible citizen, productive worker, or competent and conscientious consumer, individuals need to develop expertise with the increasingly sophisticated information and entertainment media that address us on a multi-sensory level, affecting the way we think, feel, and behave.
Today’s information and entertainment technologies communicate to us through a powerful combination of words, images, and sounds. As such, we need to develop a wider set of literacy skills helping us to both comprehend the messages we receive and effectively utilize these tools to design and distribute our own messages. Being literate in a media age requires critical thinking skills that empower us as we make decisions, whether in the classroom, the living room, the workplace, the boardroom, or the voting booth.
Finally, while media literacy does raise critical questions about the impact of media and technology, it is not an anti-media movement. Rather, it represents a coalition of concerned individuals and organizations, including educators, faith-based groups, health care-providers, and citizen and consumer groups, who seek a more enlightened way of understanding our media environment. source

Simplicity is the Essence of Happiness


If you’re looking for happiness, call off the search party. Chances are, it’s right in front of you. The moment I began living my life for myself, rather than depending on external people or factors to bring me joy, I discovered true happiness. Being happy isn’t about some mega milestone occurring and all of a sudden your world is dandy; it’s about finding the beauty in life’s simple pleasures.
Having a positive outlook on life may sound trite, but it truly is amazing for your spirit. When we face obstacles, negative people, or undesirable circumstances, we also face the decision of how to cope with it. I don’t let my thoughts and circumstances control me; I am in control of my life and emotions. Because of these small changes, I feel I’m a better version of myself.
Sometimes I sit and revel in thought of all the things that make me twinkle. I’m passing them onto you, in hopes that you, too, might learn to recognize the littlest factors in life as the biggest moments of joy.
Happiness is…
Laughing so hard your side hurts. Knowing that somebody misses you. Making homemade cookies. Having someone play with your hair. Hearing from an old friend. Seeing a kid laugh after he farts. Eating a hearty meal then taking a nap. A full tank of gas. Wearing something lacey under my t-shirt and sweats. The beach. A long, hot shower. Finding a good sale. Watching an underdog win. A cupcake. Hot chocolate with whipped cream. Knee-high boots.
All green lights on your morning commute. Getting something unexpected in the mail. Laughing for no reason with your kids. Seeing a hot guy jogging shirtless. Free online shipping. A good book. No line at the grocery store. Finding a parking place up front. Holiday decorations. Fresh-squeezed lemonade. The perfect handbag. A good hair day. Eye contact with someone sexy.
Waking up and realizing you have two hours to lay in bed before you have to get up. Hearing your favorite song on the radio. Writing. Falling in love. A keyboard that lights up in the dark. Knowing you’ve done the right thing.
You can spend a lifetime chasing things you think will make you cheese, but open your eyes to the beautiful world around you. No matter what comes at you in life, find joy in simplicity. Don’t let negative situations or people become you. Attitudes are contagious; spread joy! SOURCE

Research topic: Effects of Classical Music to babies



Listening to classical music may soothe your baby and turn her into a classical fan later in life, but it won't make her smarter. Researchers at Appalachian State University believe that they've debunked what has been called the Mozart effect, a temporary increase in intelligence experienced after listening to a piano sonata written by the famed composer.


The Mozart effect was first reported in 1993 by scientists at the University of California at Irvine, and replicated by the same group in 1995. The study (which did not look at the effect of Mozart on babies) found that college students who listened to a Mozart sonata for a few minutes before taking a test that measured spatial relationship skills did better than students who took the test after listening to another musician or no music at all.
The effect in the students was temporary (it lasted only 15 minutes) and has always been controversial. Nonetheless, the media and politicians hopped on the Mozart effect bandwagon, claiming that listening to the music offered numerous benefits and could alleviate physical and mental health problems.
The notion that babies would be smarter if they listened to classical music was born out of this hype. One year, the governor of Georgia mandated that a classic music CD — which contained the sonata and other pieces and was donated by Sony — be given to all new babies when they left the hospital.
Despite popular sentiment, the evidence that listening to classical music made anybody smarter was tenuous at best. The lead researcher in the original U.C. Irvine study himself said in a Forbes article that the idea that classical music can cure health problems and make babies smarter has no basis in reality, even though he believes that listening to a Mozart sonata can prime the brain to tackle mathematical tasks.

The researchers at Appalachian State University were unable to duplicate the original "Mozart effect" results and found that the presence or absence of classical music didn't significantly affect student performance on tests. Their results were published in the July 1999 issue of the journal Psychological Science.


Why Should I Choose Classical Music for My Babies?
There are many reasons to choose classical music for babies to listen to. The benefits such melodies can have on infants are many.

1. Positive on Physical Health

Unlike many kinds of music, classical songs have a calming effect upon the human mind and body. The structure and slow tunes relax the mind and, according to some studies, the heart. This can help babies sleep and improve their mental health. Babies that have a hard time sleeping and those that have suffered emotional trauma can benefit most from music.

2. Good for Language Development

There’s a strong correlation between music and language development. Young children that listen to classical music might learn to talk and to read faster. They may also develop better memories and listening skills, which are vital to learning language.

3. Able to Uplift Their Mood

One the most interesting attributes of classical music is its ability to affect and improve mental health. A study by the American Music Therapy Association showed that listening to classical rhythms stimulated the production of endorphins or natural relaxants in the brain. This improves the mood and relaxes the body. This calming effect can lead to improved mental health and increased learning abilities.

4. The Mozart Effect

The best known and most controversial benefit from classical music for babies is the Mozart Effect. The term comes from an experiment that showed listening to classical music can temporarily boost IQs and increase spatial temporal reasoning abilities. French researcher Dr. Alfred A. Tomatis, who coined the term, believed that classical music encouraged development of the brain. Some researchers believe listening to classical music encourages mental developments, while others do not. Even though the Mozart Effect may not be real, the many benefits show that classical music is good for babies. source

Huwebes, Disyembre 3, 2015

Rehabilitation Programs for minors


Inspiration’s Teen Drug  Rehab Treatment

Inspirations’ addiction treatment program allows the adolescent to work through many emotional conflicts within the safe boundaries of our facility. Adolescents move through levels and are assisted in developing living skills, interpersonal skills and relapse prevention skills. In addition to the regular program, adolescents attend special workshops designed to meet their needs and attend on-site tutorial services to help them reach their educational goals. The setting at Inspirations is designed for our Adolescent Program by allowing room for exploration, meditation, and activities geared toward the high energy level of teens.
Inspirations program provides treatment for adolescent patients whose addictive disease, emotional and behavioral problems prevent adequate functioning in a less restrictive setting. It is the philosophy of the staff at Inspirations that these behaviors are symptoms of deeper problems that may include difficulties in the emotional life of the adolescent and in his/her family and peer group. This philosophy promotes the provision of a secure, structured environment to address chemical dependence, inclusive of these difficulties while encouraging independence and self esteem for the adolescent. It further promotes that every effort be made to involve the family in an intensive family program, as all members of the family are adversely affected by chemical dependency.

Teen Drug Rehab Program, Services, Treatment Team and Planning Process

Inspiration’s multidisciplinary treatment team is led by licensed therapists and is composed of master level mental health counselors and social workers, addiction therapist, nursing staff, recreational therapist, and educational staff. All treatment is overseen by a board certified adolescent psychiatrist.
Inspirations treatment team meets twice a week and is responsible for developing, implementing and monitoring the course of treatment for each patient. The team develops a comprehensive treatment plan that is individualized and meets all the needs of the patient. The plan also includes discharge criteria as well as aftercare plans. Parents, guardians and referral agencies are critical components of the treatment and aftercare process and their participation is highly encouraged. The patient is also an integral part of the planning process and may at times be included in the team meeting.

Inspirations’ teen addiction treatment programs include:

  • Residential addiction treatment
  • 12-step program
  • Individual, family and group therapy
  • Dual-Diagnosis
  • Gender specific drug abuse treatment
  • Short-term and Long-Term rehabilitation
  • Intervention
  • Recreation, Art, Music, and Trauma therapy  (source)

Teen rehab programs are designed to treat more than just addiction; they also treat any additional related needs the patient may have. Substance abuse affects many aspects of a user's life, including brain function and behaviors. Rehabilitation treatment is designed to address these effects of substance abuse. According to the National Institute on Drug Abuse (NIDA), studies since the 1970s have shown that treatment is generally effective in stopping drug use in users. These studies have also shown that treatment prevents relapse and enables users to resume sober lifestyles after treatment.
The biggest part of treatment in a teen rehab facility will be counseling. Through therapy, the addict will learn the skills needed to stay sober. Counseling uses various methods to help the addict overcome his or her addiction and take control again. source

The Phantom of the Opera





The Phantom of the Opera (French: Le Fantôme de l'Opéra) is a novel by French writer Gaston Leroux. It was first published as a serialisation in Le Gaulois from September 23, 1909, to January 8, 1910. It was published in volume form in April 1910 by Pierre Lafitte. The novel is partly inspired by historical events at the Paris Opera during the nineteenth century and an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Webber's 1841 production of Der Freischutz. Nowadays, it is overshadowed by the success of its various stage and film adaptations. The most notable of these are the 1925 film depiction featurin Lon Chaney and Andrew Lloyds Webber's 1986 musicalsource

The Phantom of the Opera is mostly about a girl named Christine Daae (DI-A), a ballet dancer at the Paris Opera House. She is the musical student of a man who most call the Opera Ghost but who she calls the Angel of Music. His real name is Eric, and he lives in the lake below the Opera House. He is teaching her how to sing. When the main female lead at the opera leaves, Christine is called upon to sing and does so beautifully. 

But this does not bode will for her. A man, who she has known for some time, name Raoul, sees her sing and remembers her. He is romantically interested in her, but Eric will not allow it. Instead of letting them go off together, Eric kidnaps Christine in order to instruct her further. After unmasking him and revealing horrible deformities on his face, Christine runs away. 
But now she is the enemy of the Phantom. She must run from him at all time when she is in the Opera House, which also makes Raoul afraid. 
In desperation, after another performance by Christine, Eric kidnaps her again. He tries all manor of things to kill Raoul, who follows them down under the Opera House. Instead of doing so, however, he ends up making Christine and Raoul even more in love and even more desperate to escape. 




"The Phantom of the Opera" is a hideously deformed musical genius who hides in shadow, living beneath the Paris Opera house (which he himself designed some years earlier). Forced to live this way due to the fact that he has become a killer, his motives in life are changed when he falls in love with a young prima donna named Christine, a girl he has secrety been giving singing lessons. 


       But when a young man named Raoul DeChagny vies for the love of Christine, a deadly rivalry ensues- which will determine the fate of not only Christine, but of the entire Paris Opera House. source


Plagiarism




Plagiarism has always concerned teachers and administrators, who want students’ work to repre­sent their own efforts and to reflect the outcomes of their learning. However, with the advent of the Internet and easy access to almost limitless written material on every conceivable topic, suspi­cion of student plagiarism has begun to affect teachers at all levels, at times diverting them from the work of developing students’ writing, reading, and critical thinking abilities.
This statement responds to the growing educational concerns about plagiarism in four ways: by defining plagiarism; by suggesting some of the causes of plagiarism; by proposing a set of respon­sibilities (for students, teachers, and administrators) to address the problem of plagiarism; and by recommending a set of practices for teaching and learning that can significantly reduce the likeli­hood of plagiarism. The statement is intended to provide helpful suggestions and clarifications so that instructors, administrators, and students can work together more effectively in support of excellence in teaching and learning.
What Is Plagiarism?
In instructional settings, plagiarism is a multifaceted and ethically complex problem. However, if any definition of plagiarism is to be helpful to administrators, faculty, and students, it needs to be as simple and direct as possible within the context for which it is intended.
Definition: In an instructional setting, plagiarism occurs when a writer deliberately uses someone else’s language, ideas, or other original (not common-knowledge) material without acknowledg­ing its source.
This definition applies to texts published in print or on-line, to manuscripts, and to the work of other student writers.
Most current discussions of plagiarism fail to distinguish between:
  1. submitting someone else’s text as one’s own or attempting to blur the line between one’s own ideas or words and those borrowed from another source, and
  2. carelessly or inadequately citing ideas and words borrowed from another source.
Such discussions conflate plagiarism with the misuse of sources.
Ethical writers make every effort to acknowledge sources fully and appropriately in accordance with the contexts and genres of their writing. A student who attempts (even if clumsily) to identify and credit his or her source, but who misuses a specific citation format or incorrectly uses quota­tion marks or other forms of identifying material taken from other sources, has not plagiarized. Instead, such a student should be considered to have failed to cite and document sources appropri­ately.
What are the Causes of Plagiarism and the Failure to Use and Document Sources Appropri­ately?
Students who are fully aware that their actions constitute plagiarism—for example, copying pub­lished information into a paper without source attribution for the purpose of claiming the informa­tion as their own, or turning in material written by another student—are guilty of academic mis­conduct. Although no excuse will lessen the breach of ethical conduct that such behavior repre­sents, understanding why students plagiarize can help teachers to consider how to reduce the op­portunities for plagiarism in their classrooms.
  • Students may fear failure or fear taking risks in their own work.
  • Students may have poor time-management skills or they may plan poorly for the time and effort required for research-based writing, and believe they have no choice but to plagia­rize.
  • Students may view the course, the assignment, the conventions of academic documenta­tion, or the consequences of cheating as unimportant.
  • Teachers may present students with assignments so generic or unparticularized that stu­dents may believe they are justified in looking for canned responses.
  • Instructors and institutions may fail to report cheating when it does occur, or may not enforce appropriate penalties.
Students are not guilty of plagiarism when they try in good faith to acknowledge others’ work but fail to do so accurately or fully. These failures are largely the result of failures in prior teaching and learning: students lack the knowledge of and ability to use the conventions of authorial attri­bution. The following conditions and practices may result in texts that falsely appear to represent plagiarism as we have defined it:
  • Students may not know how to integrate the ideas of others and document the sources of those ideas appropriately in their texts.
  • Students will make mistakes as they learn how to integrate others’ words or ideas into their own work because error is a natural part of learning.
  • Students may not know how to take careful and fully documented notes during their re­search.
  • Academicians and scholars may define plagiarism differently or more stringently than have instructors or administrators in students’ earlier education or in other writing situations.
  • College instructors may assume that students have already learned appropriate academic conventions of research and documentation.
  • College instructors may not support students as they attempt to learn how to research and document sources; instead, instructors may assign writing that requires research and expect its appropriate documentation, yet fail to appreciate the difficulty of novice academic writ­ers to execute these tasks successfully.
  • Students from other cultures may not be familiar with the conventions governing attribu­tion and plagiarism in American colleges and universities.
  • In some settings, using other people’s words or ideas as their own is an acceptable practice for writers of certain kinds of texts (for example, organizational documents), making the concepts of plagiarism and documentation less clear cut than academics often acknowledge and thereby confusing students who have not learned that the conventions of source attri­bution vary in different contexts.
What are our Shared Responsibilities?
When assignments are highly generic and not classroom-specific, when there is no instruction on plagiarism and appropriate source attribution, and when students are not led through the iterative processes of writing and revising, teachers often find themselves playing an adversarial role as “plagiarism police” instead of a coaching role as educators. Just as students must live up to their responsibility to behave ethically and honestly as learners, teachers must recognize that they can encourage or discourage plagiarism not just by policy and admonition, but also in the way they structure assignments and in the processes they use to help students define and gain interest in topics developed for papers and projects.
Students should understand research assignments as opportunities for genuine and rigorous in­quiry and learning. Such an understanding involves:
  • Assembling and analyzing a set of sources that they have themselves determined are relevant to the issues they are investigating;
  • Acknowledging clearly when and how they are drawing on the ideas or phrasings of others;
  • Learning the conventions for citing documents and acknowledging sources appropriate to the field they are studying;
  • Consulting their instructors when they are unsure about how to acknowledge the contributions of others to their thought and writing.
Faculty need to design contexts and assignments for learning that encourage students not simply to recycle information but to investigate and analyze its sources. This includes:
  • Building support for researched writing (such as the analysis of models, individual/group con­ferences, or peer review) into course designs;
  • Stating in writing their policies and expectations for documenting sources and avoiding plagia­rism;
  • Teaching students the conventions for citing documents and acknowledging sources in their field, and allowing students to practice these skills;
  • Avoiding the use of recycled or formulaic assignments that may invite stock or plagiarized re­sponses;
  • Engaging students in the process of writing, which produces materials such as notes, drafts, and revisions that are difficult to plagiarize;
  • Discussing problems students may encounter in documenting and analyzing sources, and of­fering strategies for avoiding or solving those problems;
  • Discussing papers suspected of plagiarism with the students who have turned them in, to de­termine if the papers are the result of a deliberate intent to deceive;
  • Reporting possible cases of plagiarism to appropriate administrators or review boards.
Administrators need to foster a program- or campus-wide climate that values academic honesty. This involves:
  • Publicizing policies and expectations for conducting ethical research, as well as procedures for investigating possible cases of academic dishonesty and its penalties;
  • Providing support services (for example, writing centers or Web pages) for students who have questions about how to cite sources;
  • Supporting faculty and student discussions of issues concerning academic honesty, research ethics, and plagiarism;
  • Recognizing and improving upon working conditions, such as high teacher-student ratios, that reduce opportunities for more individualized instruction and increase the need to handle papers and assignments too quickly and mechanically;
  • Providing faculty development opportunities for instructors to reflect on and, if appropriate, change the ways they work with writing in their courses.

Best Practices

College writing is a process of goal setting, writing, giving and using feedback, revising, and ed­iting. Effective assignments construct specific writing situations and build in ample room for re­sponse and revision. There is no guarantee that, if adopted, the strategies listed below will elimi­nate plagiarism; but in supporting students throughout their research process, these strategies make plagiarism both difficult and unnecessary.
1. Explain Plagiarism and Develop Clear Policies
  • Talk about the underlying implications of plagiarism. Remind students that the goal of re­search is to engage, through writing, in a purposeful, scholarly discussion of issues that are sometimes passed over in daily life. Understanding, augmenting, engaging in dialogue with, and challenging the work of others are part of becoming an effective citizen in a complex society. Plagiarism does not simply devalue the institution and the degree it offers; it hurts the inquirer, who has avoided thinking independently and has lost the opportunity to participate in broader social conversations.
  • Include in your syllabus a policy for using sources, and discuss it in your course. Define a policy that clearly explains the consequences of both plagiarism (such as turning in a paper known to be written by someone else) and the misuse or inaccurate citation of sources.
  • If your university does not already have one, establish an honor code to which all stu­dents subscribe; a judicial board to hear plagiarism cases; or a departmental ombud­sperson to hear cases brought between students and instructors.
2. Improve the Design and Sequence of Assignments
  • Design assignments that require students to explore a subject in depth. Research questions and assignment topics should be based on principles of inquiry and on the genuine need to dis­cover something about the topic, and should present that topic to an audience in the form of an exploration or an argument.
  • Start building possible topics early. Good writing reflects a thorough understanding of the topic being addressed or researched. Giving students time to explore their topics slowly and helping them to narrow their focus from broad ideas to specific research questions will person­alize their research and provide evidence of their ongoing investigations
  • Consider establishing a course theme, and then allow students to define specific questions about that theme so that they become engaged in learning new ideas and begin to own their research. A course theme (like “literacy” or “popular culture”) allows students and in­structor to develop expertise and to support each other as they read, write, and engage in their research. Grounding the theme in a local context (such as the campus, or the neighborhood or city where the campus is located) can provide greater relevance to students’ lives. Once stu­dents have defined a topic within the course theme, ask them to reflect frequently on their choice of topic: about what they already know about the topic when they begin their research; about what new ideas they are learning along the way; and about what new subjects for re­search they are discovering.
  • Develop schedules for students that both allow them time to explore and support them as they work toward defined topics. As researchers learn more about their subjects, they typi­cally discover new, unforeseen questions and interests to explore. However, student research­ers do not have unlimited time for their work—at some point, they must choose a focus for their papers. Conferences with students (sometimes held in the library or computer resource center) are invaluable for enabling them to refine their focus and begin their inquiry.
  • Support each step of the research process. Students often have little experience planning and conducting research. Using planning guides, in-class activities, and portfolios, instructors should “stage” students’ work and provide support at each stage—from invention to drafting, through revision and polishing. Collecting interim materials (such as annotated photocopies) helps break the research assignment down into elements of the research process while providing instructors with evidence of students’ original work. Building “low-stakes” writing into the research process, such as reflective progress reports, allows instructors to coach students more effectively while monitoring their progress.
  • Make the research process, and technology used for it, visible. Ask your students to con­sider how various technologies—computers, fax machines, photocopiers, e-mail—affect the way information is gathered and synthesized, and what effect these technologies may have on plagiarism.
  • Attend to conventions of different genres of writing. As people who read and write aca­demic work regularly, instructors are sensitive to differences in conventions across different disciplines and, sometimes, within disciplines. However, students might not be as aware of these differences. Plan activities—like close examinations of academic readings—that ask stu­dents to analyze and reflect on the conventions in different disciplines.
3. Attend to Sources and the Use of Reading
  • Ask students to draw on and document a variety of sources. Build into your assignments additional sources, such as systematic observation, interviews, simple surveys, or other data­gathering methods. Incorporating a variety of sources can help students develop ways of gath­ering, assessing, reading, and using different kinds of information, and can make for a livelier, more unique paper.
  • Consider conventions. Appropriate use of citations depends on students’ familiarity with the conventions of the genre(s) they are using for writing. Design activities that help students to become familiar with these conventions and make informed choices about when and where to employ them.
  • Show students how to evaluate their sources. Provide opportunities for students to discuss the quality of the content and context of their sources, through class discussions, electronic course management programs or Internet chat spaces, or reflective assignments. Discuss with students how their sources will enable them to support their argument or document their re­search.
  • Focus on reading. Successful reading is as important to thoughtful research essays as is suc­cessful writing. Develop reading-related heuristics and activities that will help students to read carefully and to think about how or whether to use that reading in their research projects.
4. Work on Plagiarism Responsibly
  • Distinguish between misuse of sources and plagiarism. If students have misused sources, they probably do not understand how to use them correctly. If this is the case, work with stu­dents so that they understand how to incorporate and cite sources correctly. Ask them to re­write the sections where sources have been misused.
  • Ask students for documentation. If a student’s work raises suspicions, talk with him or her about your concerns. Ask students to show you their in-process work (such as sources, sum­maries, and drafts) and walk you through their research process, describing how it led to the production of their draft. If they are unable to do this, discuss with them the consequences of plagiarism described in your syllabus (and, perhaps, by your institution). If you have talked with a student and want to pursue your own investigation of his or her work, turn to sources that the student is likely to have used and look for evidence of replication.
  • Use plagiarism detection services cautiously. Although such services may be tempting, they are not always reliable. Furthermore, their availability should never be used to justify the avoidance of responsible teaching methods such as those described in this document.
5. Take Appropriate Disciplinary Actions
  • Pay attention to institutional guidelines. Many institutions have clearly defined procedures for pursuing claims of academic dishonesty. Be sure you have read and understood these be­fore you take any action.
  • Consider your goal. If a student has plagiarized, consider what the student should take away from the experience. In some cases, a failing grade on the paper, a failure in the course, aca­demic probation, or even expulsion might achieve those goals. In other cases, recreating the entire research process, from start to finish, might be equally effective. source