Observing Children Free Essays

Three observations of child development. This is an assignment consisting of three observations pertaining to a child’s development in three core areas, specifically, a young person’s social, emotional and physical maturity. Firstly it contemplates the social development of a four year old boy in an educational nursery setting, via an observation utilizing the narrative technique. We will write a custom essay sample on Observing Children or any similar topic only for you Order Now Secondly the intellectual (cognitive) development of a five year old girl is reflected upon in a home setting, using the sampling approach. Finally the physical maturity of a four year old boy is considered in a home setting, using the checklist method. These individual records highlight areas that are deemed to be pertinent to the applicable study, drawing conclusions and evaluating how the findings are relevant. These inferences are supported by appropriate theory, before conferring recommendations correlating to the observation, considering future needs/requirements. Observation one: Social development. Name of observer: Lee Bogan. Name of child: O. Age of child: Four years, two months. Gender: Male. Time observation started: 9. 15. Time observation finished: 9. 45 Method: Narrative. Number of children: 5. Number of Adults: 2. Date: October 2009. Background: Child O is an only child from a single parent family and spends a lot of time with his mother and grandmother. He also suffers from a disorder which is supposed to infringe upon his social development. Aim: To observe a child aged four years two months playing outdoors in a nursery with other children, concentrating on and highlighting the preschooler’s social development. Objective: To assess O’s confidence in concordance with his ability to develop friendships and interact with peers. Setting: Educational nursery for children aged between three and four. There are places for thirty children in a session, six of which are allocated to resource children who may or may not come from the local area. Brief description: O is outside playing with plastic crates and planks of wood. There are other children in the same vicinity also playing with the materials. Description: O is making a structure comprising of plastic crates and wooden planks. He asks another child for ‘a hand’. This request is not acted upon. It becomes apparent that the edifice being constructed is a bridge when O discusses which way the bridge should face with the supervising adult, who offers him guidance and advice. O then exclaims he’ll ‘move this’, picking up a plastic crate, followed by a plank of wood, creating a new fraction of the bridge. This is achieved devoid of any assistance from other children and with a small amount of structured direction from the attentive adult. Subsequently O directs another child who is holding a plank of wood, asserting ‘put it here’. O then proceeds to move a plastic crate and wooden plank in order to adjoin it to a nearby slide that another child is utilizing. He reiterates ‘give me a hand somebody, I need a hand’. This request is again to no avail. Hereafter O manipulates a cart/pram to reposition a plastic crate which he complements with a wooden plank, resulting in the formation of an extension to the bridge. Other children meanwhile are exploiting the sections of the bridge that have already been assembled. O gives the cart/ pram to another child. He is then asked to ring the bell to signify that it is time to tidy up. O smiles and walks over to where the bell is located. He elevates and rings the bell, smiling. The supervising adult recompenses this action/behaviour with the words ‘well done’. Evaluation: O appears confident around his peers. He explicitly asks for assistance moving building materials on numerous occasions demonstrating that he is not adverse to entering into communication and initiating social interaction with others. He fundamentally invites other children to interact with him, though the other children appear to either not have heard the requests made or chose to ignore them. Given the close proximity of the other children, the latter scenario appears to be most likely. That ascertained, it could be construed that child O was in fact a socially ‘neglected’ child amongst his peer group (Coie, Dodge Coppotelli, 1982). This research describes socially ‘neglected’ children as children who are neither ‘a liked nor disliked companion and appear almost invisible to their peers’. This implies that ‘neglected’ children are not being rejected by peers as they are not disliked; they are not recognised as being either socially favourable or unfavourable. Coie Dodge (1983) actually stipulate that children who are disliked fall into the category of ‘rejected’ children and furthermore their research avers that it is far more advantageous to be ‘neglected’ as opposed to ‘rejected’. This is asserted to be accurate as Cassidy Asher (1992) and Crick Ladd (1993) suggest that ‘neglectees do not feel as lonely as rejectees’. Moreover, ‘neglected’ children are far more likely to ‘attain a more favourable sociometric status’ in comparison to ‘rejected’ children, should they enrol into a new play group (Coie Dodge, 1983). O also appears to be confident when talking and interacting with the adult supervising the play area. When deciding which direction the bridge should rotate towards O listens to the adult and uses their advice to deduce an appropriate conclusion to the immediate problem, declaring, ‘I’ll move this’. It can be intimated from this that O is confident in his own decision making and not afraid to act upon his own rationale of situations. He interacts well and shows purpose and persistence in his behaviour towards the task being undertaken. The way O interacts with other children during his play is perplexing. For the majority of the time he is engaged in his own solitary play, also referred to as ‘non-social activity’ (Parten, 1932). This would infer that child O was not succeeding in or attempting to develop friendships with others, however, it could be insinuated that this is not the case. Although he does spend a large majority of his time in what Parten (1932) depicts as either ‘non-social’ (solitary play) or ‘parallel’ (when children play side by side but interact little and do not try to influence the behaviour of others) play, O does display behaviour in the most advanced phase of Parten’s (1932) stages of play; ‘ co-operative play’. Co-operative play’ incorporates children collaborating to achieve shared goals (Parten, 1932). O asks for assistance on numerous occasions with the building of the bridge, as highlighted earlier, effectively inviting the other children to work with him to build the bridge. The other chil dren appear to ignore him, isolating him from the rest of the group, but it could be reasoned that this is not a reflection of O’s ability to initiate interaction and form friendships but rather a reflection of the way the rest of the group appear to perceive and ignore him. The same can be derived from the behaviour O displays when he gives the pram/cart to another child (sharing toys) and gets no feedback from the beneficiary by way of acknowledgment/thank you, or by the gesture of moving the bridge over to the slide; this could be perceived as an attempt to allow the other children to interact and socialise with him but they instead choose to ignore him, nevertheless exploiting and utilizing the apparatus he has just made accessible to them. O also gives direction to another child in relation to where the plank of wood they are holding should be positioned. This again can be identified to be the more advanced stage of play in four year olds, according to Parten (1932), as it does not fall into the category of ‘non-social’ or ‘parallel play’ since it incorporates other children. Conclusion: O does display behaviour associated with the social developmental norms for four year olds stipulated by Riddall-Leech (2008) in demonstrating that he is ‘confident’ showing ‘purpose and persistence’ as well as showing willingness to ‘develop friendships with peers’. He also shows signs of ‘co-operative play’ (Parten, 1932). However, it is apparent that his peers are not receptive to his attempts at initiating social interaction. From the information gathered it could be argued that this is due to the other children ‘neglecting’ (Coie Dodge, 1983) O in favour of other more auspicious companions. The fact that O also mainly interacts with adults outside of the nursery setting as he is an only child from a single parent family, who spends most of his time with his mother and grandmother, may have an impact on the way he interacts and the language he uses. This may be ‘alien’ to other children who regularly socialise with both adults and children alike, isolating O from the other children, who could be unsure of how to socialise with him. Recommendations: It could be deemed beneficial for O to socialise with another group of children as Coie Dodge (1983) express that children ‘neglected’ by their companions can gain an improved ‘sociometric’ status and increased social acceptance within a group of new peers. This would not necessarily mean O leaving the nursery; on the contrary, this could be achieved via involvement in a club/social activity outside of the nursery. Some kind of social interaction with children outside of the nursery in any situation could be perceived to be beneficial in helping O’s social development. How to cite Observing Children, Essay examples

Gymnastics Research Paper free essay sample

Emily Pascavis Karl Bakkum English Comp. Gymnastics Long ago, gymnastics was very different from what we know today. Gymnastics comes from the Greek prefix â€Å"gymno- or gymn-† which means, â€Å"to be naked†. The Greeks used gymnastics for entertainment, performing naked. When the Romans conquered Greece, they took over the sport. They used it for its functional uses. The used the wooden horses to practice the quick mounting and dismounting of their actual horses during battle. Which later became the men’s event that we know today as pommel horse. Awhile later, Roman Emperor Theodosius banned the sport. It was not seen or used again until the late eighteenth century. Friedrich Ludwig Jahn is credited with starting gymnastics clubs in the late 1700s. Another physical educator, Johann Friedrich GutsMuths, influenced Jahn. Johann had been studying ancient gymnastics, and was interested in bringing it back and improving it to be compatible with the (then-current) culture. We will write a custom essay sample on Gymnastics Research Paper or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Jahns contributions to gymnastics that we are familiar with today include the balance beam (a women’s only event, parallel bars (now known as the uneven parallel bars a women’s only event) and horizontal/high bar (a men’s only event). In 1881 the International Gymnastics Federation (FIG) was formed, later was renamed â€Å"Bureau of the European Gymnastics Federation†. This organization pioneered the international competition. The Amateur Athletic Union (AAU) was formed in United States in 1883. Along with other amateur sports in United States, this organization took over the control of gymnastics in the U. S. and championships started to develop by various clubs and organizations at about the same time during 1880s. The first â€Å"large-scale† competition was the 1896 Olympics in Athens, Greece. Germany had been the dominant team sweeping almost every medal. Only five countries participated in the gymnastics portion. The first international event following the 1896 Olympics was held in 1903 in Antwerp, Belgium. Gymnasts from places such as Belgium, France, Luxembourg and the Netherlands competed. This event is now considered the first World Championships. The first â€Å"mens team† competition was added and held in 1904 Olympics at St. Louis. The1924 Olympics in France marked the beginning of what gymnastics is today. Men started to compete for individual Olympic titles in each event. The first womens gymnastics team debuted during the 1928 Olympics. The first U. S. womens gymnastics team competed in the 1936 Olympics in Berlin, Germany. In 1962 the AAU recognized rhythmic gymnastics within the sport. In 1963 in Budapest and Hungary, the first Rhythmic World Championships took place. It included 28 athletes, from 10 countries. In 1973, the United States joined the sport of rhythmic gymnastics and competed in the Rhythmic World Championships. During the 1984 Olympics in Los Angeles, the rhythmic individual all-around competition was held for the first time. At the Centennial Olympics this same year in Atlanta, Georgia the rhythmic gymnastics group event (multiple gymnasts on the floor at once doing a choreographed routine) became a medal-sport for the first time. Finally in 1970, the United States Gymnastics Federation, now formally known as USA Gymnastics or USAG, was organized and became the governing body on this sport in the U. S. The gymnastics world still runs under this system to this day. There are many components of physical fitness that gymnastics improves. Gymnastics improves ones flexibility, muscular strength, cardiovascular endurance, muscular endurance, and body composition. Gymnasts are some of the strongest people in the athletic world, due to the fact that nearly everything they do is either on their hands or explosive off of their legs. It helps get you physically fit and tones your body (club gymnasts are the more serious gymnasts that practice upwards of 24 hours a week). The one thing that has remained prominent since the beginning of gymnastics is the mental aspect. As a sports psychology consultant, Dr. Alan Goldberg has worked with gymnasts at all levels around the United States from elite all the way down to recreational gymnasts.

Annunciation Essay Example

Annunciation Essay Example Annunciation Paper Annunciation Paper I didnt think another visit to the Cloisters would mean much to me.In previous visits, I had noticed the picture on the wall or the sculpture in the corner, glanced quickly at a date or name, and moved on. This time, however, something compelled me to take a closer look, to try to understand the form and context of the works, to see into the artists mind. I thoroughly enjoyed observing the works themselves and watching others reactions to those works. Once there, I chose a particular object to write about, considering the formal elements and the effect on the viewer. This sharpened my visual analysis, along with my understanding of the importance of historical context. I was attracted to the stained glass because of the beauty and emotions it portrayed.It gives an accurate feel for the attitude of someone who was passionate about the craft. The panels once initiated a cycle dedicated to the Life of Christ installed in the Altenberg convent church. An unknown artist completed this G erman glass painting, created in Altenberg-an-der-Lahn, in 1290. It is a scene of the Annunciation, describing when the angel Gabriel is informing the Virgin Mary that she is pregnant with Jesus Christ. The Archangel Gabriel tells the Virgin Mary that she is to give birth to the Son of God. Calmness, order and simplicity are the outstanding features of this painting. Mary bows her head as she humbly accepts Gabriels message. The painting style, with its bold slashing strokes, combined with the strong colors, makes it one of the most exceptional of the panels.It includes a sense of perception because of its three dimensional characteristics. The face of Gabriel is gentle and soft, with squinted eyes and closed lips. Mary, however, seems more intense because of the lowely-tilted position of her head.Both of the emotions portrayed show the realistic intentions of the artist. Gabriels hands extend toward Mary, while hers rest humbly at

buy custom Samsara and Sakuntala essay

buy custom Samsara and Sakuntala essay Samsara literally means the continuous flow. The flow is a cycle starting at birth, life, death and reincarnation within Hinduism. Sakuntala is a nymph who was the daughter to Vishvamitra by a nymph Meneka. Sakuntalas story revolves around her love, marriage, separation and her re-union with the king Dushyata. Thesis The essay below explains the purpose of "patient suffering" as a means for all men to escape from "samsara" in the Hindi faith, and use of Sakuntala as an exemplary representative of the necessity and effectiveness of "patient suffering." Sakuntala Sakuntala was left in the forest which was her birthplace. She got her nourishment from birds until Kanwa, a sage, found her. Love between Sakuntala and king Dushyanta started while she was under the care of the sage Kanwa. Sakuntalas sight led king Dushyanta to fall in love. The king induced her to the Ganharva, a mutual yet easy declaration of mutual acceptance. As a pledge to his love before returning to his city, Dushyanta gave Sakuntala a ring. Durvasas, a sage, visiting Kanwa cursed Sakuntala to be forgotten by the lover. However, having thought over te curse, the sage promised that the curse would be lifted once the king Dushyanta saw the ring. Sakuntala set in search of his husband. On the way, she took a birth in a sacred pool where she lost her ring. The curse could not lift due to the lack of the ring, so the king did not recognize Sakuntala. Sakuntala tries to convince the king of their meeting, but this makes her suffer more. She could not convince him. A fisherman caught a large fish where he found the ring, the ring of recollection. The fisherman took it to the king who recognized his ring, which led to his subsequent acceptance of Sakuntala and her son Bharata. Patient suffering is evident in Sakuntalas case. The missing ring of recollection is the sole course of Sakuntalas sufferings. There is a happy re-union after an exceedingly long duration of accumulated suffering. Samsara and its Shortcomings Turning mind from Samsara is freeing you from every attachment life in the realms of Samsara. The precious human rebirth, karma, impermanence and the Samsaric suffering allow us to develop this freedom. The precious human re-birth has been considered precious having evaded the following suffering, birth in paranoia, hunger and thirst, animal birth, birtth within uncivilized lands, birth as a god (with unusually long life where the aftermath is the rebirth in a less and painful states), life on incorrect views and finally birth when no Buddha appears. At this time, one does not get the Buddhist teachings and, therefore, no knowledge on how to free from Samsaric suffering. Impermanence talks of the ways in which every human life may end not necessarily at old age. Karma depicts that actions lead to a casualty. Positive actions lead to positive results and vice versa where the latter causes suffering. However, teachings inform that the negative deeds have positive aspects. The aspects a re put in place when one gets to purify him or her from the negativity created. This purification may be applied through the four powers, action regret, re-preparation of the resulting ill effects, resolution and laying in place the first three powers. Conclusion If negative experiences predominate, suffering is mainly experienced. Samsaric suffering is as a result of cumulative negative actions. Samsara may be compared with the sitting on the end of a needle. It is suffering all through. Discern between right and evil should help in doing away with unacceptable actions. The corresponding result will help in freeing Samsara. Buy custom Samsara and Sakuntala essay

Relationship between Sound and Space in I am Seating in a Room by Essay

Relationship between Sound and Space in I am Seating in a Room by Alvin Lucier - Essay Example Instead, the artists who firmly occupy one discipline – composers who compose music, artists who create visual art, and architects who fashion functional space – find themselves more readily embraced by critics and audiences. Artists whose work combines all of these disciplines however often encounter a chilly, if not confused, critical and audience response. Susan Philipsz, who won the Turner Prize in 2010, has been called the â€Å"first artist working with sound to have won the prize,† and some sound artists view this development as a positive harbinger for the discipline as a whole (Searle n.p.) Searle describes Philipsz as â€Å"just a singer, with the sort of voice you might feel lucky to come across at a folk club. But there is much more to Philipsz than a good voice. All singers, of course, are aware of the space their voice occupies, of the difference between one hall and another...But the way Philipsz sites recordings of her voice is as much to do with place as with sound† (Searle n.p.). True, Philipsz’s use of sound is extraordinary. However, Philipsz is still â€Å"singing† in the traditional sense of the word. ... Sound artists define the term polymath; they straddle multiple disciplines, including art, music, performance art, and architecture, and become masters in each. However, the critical community has not caught up to the speed at which these artists process the physical world. Aside from the occasional Burning Man performance, for the most part sound artists remain in obscurity. This reality exists because sound art by nature occupies a fractious, shadowy space between two critical perspectives that harbor two powerful biases: the visual bias of the so-called â€Å"visual† art school of criticism, and the â€Å"music† bias of the music school of criticism. Both biases persist and effectively hamstring critics to discuss one or the other, but never both. Is it art, or is it music? Is it sound, or is it art? As Cox argues, â€Å"the broader field of sound art has been ignored by musicologists, art historians, and aesthetic theorists. The open-ended sonic forms and often sit e-specific location of sound installations thwart artists musicological analysis, which remains oriented to the formal examination of discrete sound structures and performances, while the purely visual purview of art history allows its practitioners not only to disregard sound art but also to gloss over the sonic strategies of Postminimalism and Conceptualism† (Cox 146). Never mind that music itself is a form of sound – in fact, all noise that the human ear processes can be conceived of as such – yet the polarizing critical perspectives persist, to the detriment of scholars and audiences alike. As Cox explains, â€Å"sound art remains so profoundly undertheorized, and†¦has failed to generate a rich and compelling critical literature†¦because the prevailing theoretical models are inadequate to it.

EH&S professional case study Essay Example | Topics and Well Written Essays - 500 words

EH&S professional case study - Essay Example This can be done by calling the hazardous material team from 15 miles which is trained under me. Take care no one goes towards the scene. This can be done by being in the vicinity of the accident but also taking full precautions of own self. To do this, I would need to read the instruction of the guide book. Action items - Call the hazardous material team trained in my plant which all necessary equipments. In the meantime, look into the emergency guide and follow the instructions for preventing any damage. Take care that dripping liquid does not flow over to wet ground or does not come in contact with water. To prevent this, guide book can be used. Constraints - I cannot go closer to the scene myself to analyze further. Apart from taking immediate precautions with the help of the book, have to wait for the team to come and take control. Since water is spraying at some distance, it can still reach if the wind fluctuates. Next responders who come to the scene. - For the next responders who come to the scene, I would explain the entire scene to them with the conclusion I derived so that they do not again waste time deciding what it could be. Then I would ask them to further suggest what can be done to prevent any mishap. This is required as the team will take some time to reach from 15 miles The minor error and name of chemical. - The minor error that can be discovered in the explanation is that the color of the liquid should not be red-yellow. It should be anything between colorless to yellow. Considering all the specifications given, this liquid is Thionyl chloride which is an inorganic compound with the formula SOCl2. The NFPA diamond for Thionyl chloride is with a 0 at 12 oclock; a 2 at 3 oclock; a 4 at 9 oclock; and a slashed W at 6 oclock that is same as mentioned in the

English Romanticism And Its Characteristics

English Romanticism And Its Characteristics Romanticism as a trend in art and literature of England emerged in the 90th of XVIII century. Romanticism in England took shape earlier than in other Western European countries, it had its vivid specificity and individualism. Its most bright representatives were William Blake, William Wordsworth, Samuel Taylor Coleridge, Robert Southey, Thomas Moore, George Gordon Byron, Percy Bysshe Shelley, Walter Scott, John Keats and others, who have left a rich heritage in the literature of England and contributed to the world literature. Romanticism is one of the most controversial trends in European literature, in the literature Romanticism is mostly understood not only as a formal literary trend, but as a certain philosophy, and it is through this philosophy that we try to define Romanticism. One of the features of Romanticism in England was its magnificent lyric poetry, especially lyric poetry, in which the identity of the poet was brightly expressed in whatever he wrote. English poets framed their observations and views in parables, fantastic visions, cosmic symbolism. Sublime things and feelings were understood by them not only as something exclusive, but that could be present in the simplest things, in everyday life. One of the characteristics of romantic literature was a special attention to the spiritual world of man, but, in contrast to the sentimental literature, Romantics were interested not in an ordinary man, but the exceptional man in the exceptional circumstances. Romantic hero is experiencing violent emotions, is striving for perfection, dreams of an ideal. Romantic hero loves and sometimes idealizes the Middle Ages time, pristine nature, in powerful forms of which he sees reflection of his strong and conflicting emotions. When characterizing the relation of romantic writers and poets to the world, it is important to point aspiration to the ideal, human impulses and feelings, the belief that not logic and knowledge but intuition and imagination could reveal all the mysteries of life. But it is aspiration to the ideal, sometimes illusory or unattainable, that lead to rejection of everyday life which did not meet that ideal. Therefore, the romantic heroes had an internal duality, forced to live in two disparate worlds of the ideal and reality, sometimes coming in protest not only against the bone of reality, but also against the divine world order. Here came the so-called romantic irony of a man in relation to an established reality, that the average man took seriously. In general, the idea is often combined with irony, that is the peculiarity of English literature at all stages of its development. English Romantics were especially interested in social problems, as to the modern bourgeois society they opposed the old, pre-bourgeois relations, they glorified nature and simple, natural feelings. Bright representative of English Romanticism is Byron, who, according to critics, clothed in a dull hopeless romanticism and selfishness. His works are full of pathos of struggle and protest against the modern world, glorifying freedom and individualism. Understanding of nature and its image in the works of the Romantics In the late XVIII early XIX century the very understanding of nature has changed. First of all, it was associated with changes in life philosophy and world view of romantics, who then explained all the phenomena from another point of view, different from the medieval and enlightenment views. The change in the philosophy of the world spirit and in understanding of nature had effects on the romantic image of the landscape: Romantics view the world spirit as a basic principle of nature, as weak, vacillating, the least comprehensible and most mysterious part of nature. With this understanding of nature, the image of nature and landscape appeared as dual: the nature itself and also the spirit that filled it and governed it. Some critics argue that the difference of the romantic interpretation of the nature was in the fact that romanticism tried to carry balance of the world of pure ideas with the world of tangible and visible things, eliminating their opposition. (Abrams, 1975) These questions are very important, because the nature of romantic poetry has saved not only the aesthetic value of artistic expression of its philosophy, but also it reflected a truly profound ideas and experiences, great human emotions. It is important to stress the fact that according to Romantics, nature in general and all its parts have specific features of the human soul. Though it is important to say that such personalization and conception of nature as subordinate to the world spirit is very important peculiarity of romantic literature, because it reflects the problem of mans relationship to the world. Thus, the very meaning of nature in the XVIII and XIX centuries was entirely different. What is the something else, something new that distinguishes a romantic view of nature from its premises? Scientific literature emphasizes such characteristics of views and attitudes towards nature in romantic works: the deep romanticism subjectivity, the subjectivity of nature, precise, individual attitude to the subjects of nature; projection of mood of the writer on nature and vice versa; the identification of the sensitive subject with nature; the animation of nature by subjective emotions of the poet; passionate relationship of man to nature. (Moore J, 2010) Subjectivity of nature is a broader concept than the organic view of Romantics on nature, as this concept unites a wide range of romantic poets. In English and in German literature subjectivity of nature is expressed more explicitly than other literatures. Example of words of Byron, who very often expressed his love to nature, points to the fact that the subjective relationship with nature is very important feature of Romanticism. There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society, where none intrudes, By the deep sea, and music in its roar: I love not man the less, but Nature more. (Byron G.G., Childe Harolds Pilgrimage) The main aspect in the romantic view on the nature is its subjectivity, the corresponding correlation of the poets mood with the natural world. It is a subjective interpretation of nature that is widely used by Romantic poets, and such features as variety of moral epithets, passion, and association of objects with personal these are the most obvious examples of this poetic temperament. Nature knows, loves, suffers and dreams, like a man, and together with the man. (Moore, 2010) Thus, the Romanticism is characterized by a sense of unity between man and nature, but this is not always expressed in the pantheistic forms, and may be associated with different ideological positions. Moreover, this unity can act in the forms of dualistic split, when nature embodies peace and harmony, and is opposed to sufferings and disharmony of human relationship. Passionate experience of relationship between the hero and nature is inherent to all romantics, though it may be shown differently by different romantic poets. On the one hand, in their writings dominate the image of landscape, which reflects their search for beauty, for picturesque images. On the other, they pay more attention to the state of the human soul and his feelings, and so the image of nature is a projection of the state of the soul, and the poet turns from the descriptions of nature to description of feelings, mixing them and showing relationship between them. Thus, the declaration of the relationship of natu re with the inner world of man is an important practice in works of romantic poets. (Perkins, 1994) It is the hour when from the boughs The nightingales high note is heard; It is the hour when lovers vows Seem sweet in every whispered word; And gentle winds, and waters near, Make music to the lonely ear. Each flower the dews have lightly wet, And in the sky the stars are met, And on the wave is deeper blue, And on the leaf a browner hue, And in the heaven that clear obscure, So softly dark, and darkly pure. Which follows the decline of day, As twilight melts beneath the moon away. (Byron G., Parisina (st. 1) It is important to note that for romantic poets nature was an expression of spiritual life, where they saw the mirror reflection of either their own soul, or the ideal life that constituted the object of their dreams. Therefore, in their works nature is endowed with more deep meaning, than the meaning of words. Animation, humanization of nature in perception, imagination was one of the favorite motifs of poets. In contrast to the dead to society, which kills a living soul in the pursuit of profit, career, power, the nature comes to life, filled with the spiritual life of people. In this case they usually have in mind the wild nature, untouched by man, which gives rest, forgetfulness and peace. Sometimes the opposition of society and nature took the form of an antithesis of town and country, and then under the nature was meant idyllic countryside, dramatically different from a nervous and noisy city. In contrast to the false and empty society, in nature everything is simple, genuine and harmonious. An example of the poetic chanting of nature were the works of lyrical poet John Keats, who wrote on the high themes of love, beauty and art art. In his poem Autumn (1820) Keats went completely from the mythological imagery, creating a picture of autumn the time of a sad farewell to the past before the harsh winter. Landscape in the poem is associated with the image of a simple man a peasant who lives in a perpetual work. Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the mossd cottage-trees, And fill all fruit with ripeness to the coreà ¢Ã¢â€š ¬Ã‚ ¦ (Keats J. To Autumn, in The Norton Anthology of English Literature, 2005) The contradiction between the dream and the reality the romantic poet Keats expressed as a contradiction between the desired ideal of beauty and bourgeois prose. Keatss admiration for the beauty was not, however, fled from life, from the problems of reality. In his poetry, he showed the truth of life, the essence of reality, he poeticized the beauty that was hidden in life under the cover of some ugly things. But when the melancholy fit shall fall Sudden from heaven like a weeping cloud, That fosters the droop-headed flowers all, And hides the green hill in an April shroud; Then glut thy sorrow on a morning rose, Or on the rainbow of the salt sand-wave, Or on the wealth of globà ¨d peonies; Or if thy mistress some rich anger shows, Emprison her soft hand, and let her rave, And feed deep, deep upon her peerless eyes. (Keats J. , Ode on Melancholy, The Norton Anthology of English Literature, 2005 ) Another prominent representative of Romantic literature in England was Lord George Gordon Byron. Byron was committed to the educational ideals and aesthetics of classicism, but he was a romantic poet. In his work the recognition of the classic rigor and clarity was combined with the image of the complex and ambiguous feelings, painted in a gloomy mood, but also with irony. The moon is up, and yet it is not night; Sunset divides the sky with her; a sea Of glory streams along the Alpine height Of blue Friulis mountains; Heaven is free From clouds, but of all colours seems to be. (Byron G. Childe Harolds Pilgrimage, A Romaunt, Canto IV, XXVII) In the romantic poems we see the strong desire to image bright and sharp contrasts , also in the image of nature. Romantics often sought to portray a violent nature, and Byron seemed liked the the presence of danger, a storm for him was a symbol of the great, though often fatal passions. Roll on, thou deep and dark blue ocean-roll! Ten thousand fleets sweep over thee in vain; Man marks the earth with ruin-his control Stops with the shore;-upon the watery plain The wrecks are all thy deed, nor doth remainà ¢Ã¢â€š ¬Ã‚ ¦ (Byron G. Childe Harolds Pilgrimage, Canto II, CLXXIX) Aspiration to an ideal and admiration of the perfect beauty of the nature can be found in the beautiful poems of Percy Shelley. The character of pictures of nature by Shelley organically derives from his philosophical views, based on the knowledge of the history of philosophy from ancient times, from truly encyclopedic knowledge. Shelley sometimes animates the nature, gives it consciousness and characteristics of highest creation he signs a hymn to the Spirit of Nature, by declaring the entire Universe as its temple. The influence of the materialist: it were ideas of Enlightenment and the Renaissance that played a decisive role in the evolution of philosophical views of Shelley. In Ode to the West Wind (1819) the symbolic image of the West Wind is the idea of renewal of life: the west wind destroys everything old in its path and helps to create new. The lyrical hero-champion is one with the mighty power of the West Wind. O wild West Wind, thou breath of Autumns being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic redà ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦ Wild Spirit, which art moving everywhere; Destroyer and Preserver; hear, O hear! (Shelley P.B., Ode To The West Wind, I) Shelley shows the magic power of the wind magically, describing its role as destroyer and preserver, by powerful natural metaphors the poet expresses his ideas about the power and great effect of the nature. Thus, we can see that the Romantic poets often showed the nature as free, powerful and beautiful world that is different from the human. Especially romantic poets liked to portray the sea in this sense, its boundless scope and majestic power, the wind, which has unlimited power and freedom, and the mountains with their grandeur and sublime beauty. In this case, the freedom and the power of natural elements have a figurative meaning, associated with free and powerful human spirit. Conclusion Romanticism is characterized by a sense of unity between man and nature. Consequently, the most importantly in the romantic views of nature is subjectivity, the corresponding correlation of the poets mood with the natural world. The romantic perception of nature is not just individual attitude of the subject to the outside world, but the nature helps to express the attitude of individual to the social conditions of his existence. In the perception and evaluation of the nature is expressed the relationship of the individual to the public life, to the meaning of human existence.