ASSIGNMENT ON SOUND TRADEMARK - Free Essay Example

Sample details Pages: 12 Words: 3522 Downloads: 5 Date added: 2017/06/26 Category Law Essay Type Analytical essay Did you like this example? à ¢Ã¢â€š ¬Ã…“ASSIGNMENT ON SOUND TRADEMARK STEPPING AGAINST CONVENTIONALITYà ¢Ã¢â€š ¬Ã‚ - INTRODUCTION:- A sound trademark is a non-conventional trademark where the trademark function of uniquely identifying the commercial origin of products or services is achieved by means of an audio clip. They are identified by hearing without support through speech. As such they can be utilized in acoustic brand marketing, which creates the need to register them as trademarks to protect a companysintellectual propertyand ensure their use as exclusive identifier for the company, just like a company logo does.Sound trademarksare protected trademarks centred on the reproduction of sounds and tones. Don’t waste time! Our writers will create an original "ASSIGNMENT ON SOUND TRADEMARK" essay for you Create order Combinations of sound and word or graphic elements are additional design options. Typical sound marks includetunesjingles,melodies as well as general sounds or noise. Sound marks can function as trade mark or service mark, as source identifiers for goods and/or services in commerce. Even though trademarks consisting of sounds have existed for many years, there is no uniformity regarding protection for such marks in the global market place or on the international level. [1] The trademark laws passed in the European Union do not explicitly include sound in the definition of trademarks; the European Court of Justice felt that sound signs could be registered as trademarks so long as their use made it possible to distinguish the goods or services of one undertaking from those of other undertakings. To be registered in the European Union, sounds must not only follow traditional trademark laws but also be represented graphically in a way that is clear, precise, self-contained, equally accessible, intelligible, durable and objective. In general, applications in the form of musical notations describing the sound meet these requirements, whereas onomatopoeic descriptions do not. This means that musical notes that can be represented in the form of musical notations are acceptable whereas noises like a dog barking or a lion roaring which cannot be represented by a musical notation but has to be described onomatopoeically or through a sonogram cannot be eligible for a trademark in the European Union. Metro Goldwyn Mayer (MGM) Corporation had applied for the registration of a sound, that of a Lion roaring, by submitting a sonogram for the à ¢Ã¢â€š ¬Ã…“Lionà ¢Ã¢â€š ¬Ã¢â€ž ¢s roarà ¢Ã¢â€š ¬Ã‚ . [2] The application has been refused in the European Union. Interestingly, the same trademark has been granted in the US. In the United States, whether a sound can serve as a trade mark à ¢Ã¢â€š ¬Ã…“depends on the aural perception of the listener which may be as fleeti ng as the sound itself unless, of course, the sound is so inherently different or distinctive that it attaches to the subliminal mind of the listener to be awakened when heard and to be associated with the source or event with which it struck.à ¢Ã¢â€š ¬Ã‚  Quite simply this means that if a sound lingers in the mind of the listener and the listener subsequently associates a source or event with that sound then the sound may be eligible for a trademark. LANDMARK CASES REALTING TO NON CONVENTIONAL TRADE MARK : In Ralf Sieckmann v. German Patent[3] Office the ECJ by the German Federal Patent Court, the ECJ decided that graphical representation per se is not enough for registration, and it must met the following criteria: It must complete, clear and precise so that object of the right of exclusivity is immediately clear. It must be intelligible to those persons having an interest in inspecting the register,i.e. other manufactures and consumers. The normal ways of graphical represent ability. The normal way of graphical representation of sound mark is use of musical notations and written description. As a practical matter, however not everyone can read written music. Moreover written musical notes while indicating pitch, normally will not indicate tone, and different tones can be used, namely, musical notes give a à ¢Ã¢â€š ¬Ã…“descriptionà ¢Ã¢â€š ¬Ã‚  of the music but not the music itself. An apparent solution would be deposit a digital recording of the sound with the registrar instead of graphical representation, which has been rejected by the INTA as being impracticable, for firstly sound cannot be published by the Trademark Registry and people have to go to the registry to hear it, and secondly, it would be difficult for the registry to store so many sound samples.[4] The INTA Resolution 1997[5] on the inclusion of sound marks as registrable marks has analysed various impediments to the registration of sounds as trademarks, such as, enforceability, functionality of such sounds, problems of graphical representation and physical affixation which they say can be solved with help of traditional trademark principles. More or less INTA seems to have maintained the position that sound is connected with a product or service may serve as a trademark and therefore, in appropriate circumstances, should be entitled to trademark recognition, protection and registration in the same way and subject to the same standards as any other trademark. Sounds can be an important element in branding and corporate identification. Sounds can help consumers distinguishing a particular service or product from another. Whether a specific sound has the ability to function as a trademark, is a question of fact in each case[6] In the case of Shield Mark BV v Joost Kist h.o.d.n Memx[7] the ECJ observed that the requirement of graphical representation was not satisfied when the sound is represented graphically by means o f a description using the written language, such as: An indication that the sign consist of the notes going to make up a musical work An indication that it is the cry of an musical By means of a simple onomatopoeia By means of a sequence of musical notes[8] The case dealt with registration of sound marks. The Court held that sound marks were registrable but the requirement of graphical representation along with distinctiveness of sound had to be met with. It further stated that written description of a sound, onomatopoeia and musical notes were not enough (as in the case, the Dutch onomatopoeia for cockcrow). In the given case, however the court did not lay down appropriate mode of representation for the sound of a cockcrow or any other sound, leaving it to a particular country to decide on its particular requirements. However, the Court indicated that whatever be mode of representation, it should be clear, precise, self contained, easily accessible, intelligible, durable and objective. The problem with written sound marks like notions is that while it might indicate pitch, it will not indicate the tone. [9] On the other hand, graphical representability requirements are satisfied where the sound is represented as a à ¢Ã¢â€š ¬Ã…“ a stave divided into measures and showing, in particular, a clef, musical notes and rests whose form indicates the relative value and where necessary, accidentals.à ¢Ã¢â€š ¬Ã¢â€ž ¢ Example 1 The trade mark is a sound mark consisting of 5 consecutive notes, namely ABCED.à ¢Ã¢â€š ¬Ã‚ [10] Example 2: Schedule of Sound mark to represent different bass, marimba, sfx and etc PRTOTECTION AND REGISTRATION OF SOUND TRADEMARK IN USA The Lanham Act of the United States defines trademark, essentially, as any word, name, symbol, or device[11], or any combination thereof used to identify and distinguish goods or services of one undertaking from those of other undertakings.[12] Thus, there is no requirement of capability of graphical representation for a trademark. The purpose behind graphical representation, while registration, of the trademark is to enable competitors and others to know what has been trademarked. Registration puts other producers on notice tha t a trademark is already in use. This means that the fellow competitors and the public must know a given trademark in a clear, precise before[13] registration of the trademark. Despite this, there is no need for a mark to be graphically represented for the registration purposes in the United States. The Trademark Rules of Procedure explicitly provides for the registration of sound marks. Sound marks which are not used in printed or written form can be registered when submitted on a disc However, the criteria for registering a sound mark differs from those traditionally applied to word marks. In Re General Electric Broadcasting Co[14], General Electric Broadcasting Company sought to register, as a sound mark, a ships bell clock as a service mark for radio broadcasting services. The Trademark Trial and Appeal Board (T.T.A.B.) held that this sound mark could not be registered because it was not proven to identify the applicants services. The Board held that the mark was not inher ently distinctive and secondary meaning[15] had not been proven. The opinion, written by administrative Judge Lefkowitz, stated that à ¢Ã¢â€š ¬Ã…“the criteria for the registration of sound marksà ¢Ã¢â€š ¬Ã‚  differed from traditional trademark analysis. The aural perception of a sound mark may be fleeting, unless à ¢Ã¢â€š ¬Ã…“the sound is so inherently different or distinctive that it attachesà ¢Ã¢â€š ¬Ã‚  and awakens the subliminal mind of the listener when heard and is associated with a particular source or event. The opinion set forth conditions under which sounds function as source indicators.à ¢Ã¢â€š ¬Ã‚ [16] A distinction must be made between unique, different, or distinctive sounds and those that resemble or imitate commonplace sounds or those to which listeners have been exposed under different circumstances. This does not mean that sounds that fall within the latter group, when applied outside of the common environment cannot function as marks for the service s in connection with which they are used. But, whereas the arbitrary, unique or distinctive marks are register able as such on the Principal Register without supportive evidence, those that fall within the second category must be supported by evidence to show that purchasers, prospective purchasers and listeners do recognize and associate the sound with services offered and/or rendered exclusively with a single, albeit anonymous, source.à ¢Ã¢â€š ¬Ã‚  In other words, because of their nature, sound marks require proof of distinctiveness, or in the alternative, proof of secondary meaning, before being entitled to registration. But a different spectrum of distinctiveness than that applied to traditional marks is followed.[17] The TTAB has defined the spectrum as the distinction between à ¢Ã¢â€š ¬Ã…“unique, different, or distinctiveà ¢Ã¢â€š ¬Ã‚  sounds on the one hand and à ¢Ã¢â€š ¬Ã…“commonplaceà ¢Ã¢â€š ¬Ã‚  sounds on the other hand. It is pertinent to highlight three iss ues. Firstly, there is no need to prove secondary meaning in the case of inherently distinctive sounds. However, there is neither any explanation of inherently distinctive sounds or commonplace sounds nor any criteria for distinguishing inherently distinguishable sounds from common place sounds. Secondly, we can draw a close analogy between sound marks and word marks. Sound marks that are presumed to be inherently distinctive are similar to the arbitrary or fanciful marks. Both of them donà ¢Ã¢â€š ¬Ã¢â€ž ¢t require any proof of secondary meaning. In contrast, place sounds are similar to the descriptive words in a sense that both require proof of secondary meaning during registration of the mark. Lastly, Sound marks are different from the Word marks because the former doesnà ¢Ã¢â€š ¬Ã¢â€ž ¢t require any graphical registration while graphical representation is necessary for the latter marks. This doesnà ¢Ã¢â€š ¬Ã¢â€ž ¢t mean that sound marks are in any way inferior to the word mark s. They perform the same function as performed by the word marks.[18] Thus, the description of the sound is the only means for presenting, in any printed record, the essence of the mark.à ¢Ã¢â€š ¬Ã‚ [19] This is done because actual sound cannot be represented visually and, hence, the U.S. system recognizes the description of the sound in the application as the accepted scope of the mark being sought. Accordingly, sound marks have been registered with descriptions using onomatopoeia, listed musical notes, and simple declaratory phrases, but generally there is no preferred method for the description of a sound. INDIA LAWS RELATING TO à ¢Ã¢â€š ¬Ã…“SOUND TRADE MARKà ¢Ã¢â€š ¬Ã‚  PROTECTION Non Conventional trademarks are those trademarks which do not fall under the conventional category of trade. There has been no act which defines what non conventional is but with different case the understanding that has come up is that it is essential for trade mark to be visible to be represented but there are some trademarks which cannot be visible but can be heard, smelled, or could be tasted this kind of trademarks are called as non conventional trademark as sound being one of them. Musical Note, jingle, noise sound of an animal falls under the preview sound. To use sound as a part of trade it is necessary to be protected under trademark. The Sec 2 (1) (zb) of the Indian Trade Mark Act defines trademark[20] and as per Section 18[21] of the Indian Trademarks Act, any application for registration of a trademark should be in compliance with Rules. According to Rule 25(12)[22] b of the Trade mark Rules, 2002 the application for registration of a trademark for goods and services has to be such that it can be depicted graphically. Further, Rule 28 makes it clear that the trademark should be such that it can be represented on paper. Rule 30 further makes a specification to the effect that the graphical representation made should be durable and satisfactory. In addit ion to this, what needs to be remembered is that Rule 29(3) makes it explicit that three-dimensional marks can also be registered and so can a combination of colours. Sec 9 (3) makes exceptions to registrability of shapes as a trade mark if it result or where the shape gives substantial value to the goods. It might also be noted that Sec 2 (1) m of the Trademarks Act defines mark to be an inclusive definition consisting of shapes and packaging of goods or a combination of colours.[23] INDEPENDENT ANALYSIS:- The Indian Courts follows the concept of graphical representation to register sound trademark. The first sound mark that has been in India is the Yahoo doodle. The important issue is that it is necessary to show secondary meaning for the unconventional trademarks such as sound marks before allowing registration of the sound mark in cases where the sound is related to some object and has primary meaning. (Ex: dog barking à ¢Ã¢â€š ¬Ã…“BOW BOWà ¢Ã¢â€š ¬Ã‚  cannot be regis tered until it defines a secondary meaning to it which helps to distinguish the producer of a good.) The limited applications on registration of sound mark have resulted in the prevalence of ambiguities in the realm of unconventional trademarks. The proposed TMR manual of 2008 states that sound may be registered in India if it can be represented graphically and be distinguished from others. It provides limitation on using of nursery rhymes, simple music (one note), chimes, and music of oneà ¢Ã¢â€š ¬Ã¢â€ž ¢s own country. In USA sound to be trademarked need to be unique in nature and even if it is not unique it should be such that it should justify itself that the mass can determine its product by hearing the respective sound relating to the product, whereas India has limited its view on non traditional mark by imitating the stand of European Union. Sound marks are widely used in trade and it becomes difficult to graphically represent sound in all cases. The representation of sound t hrough onomatopoeia or sonogram becomes difficult as onomatopoeia of a sound can be written differently and interpreted differently from what is actually heard as for the use of sonogram in sound it cannot reflect the correct notes it only measures the frequency of the sound. For registration of sound one should look into the uniqueness of the sound rather than graphical representation of it if a sound can reflect and attach a product to it than it should be allowed to protect as a sound mark. The TRIPS in Art 15 have defined Trademark as any sign, or any combination of signs, capable of distinguishing the goods or services of one undertaking from those of other undertakings. It further states that Members may require, as a condition of registration, signs to be visually perceptible. The article read out as à ¢Ã¢â€š ¬Ã…“may requireà ¢Ã¢â€š ¬Ã‚  which gives us a wider description and that denotes that even without the graphical representation non conventional trademark can be re gistered. For the better growth of the economic industry and better utility of products the courts should step ahead from Shield requirements and should imitate an act which is similar to Lanham Act. For Non conventional trade mark it has to go for two test before it can be granted a trade mark .The test has evolved with time where earlier it was just restricted to the source identifier test and distinctiveness test but in USA in the case of Hardly Davidson, the functionality test was taken to determine the test of sound of v twin engine but the before the court could upheld anything the case had been withdrawn, The functionality test is taken to check if the mark that has to be registered if it have a functional approach will not be liable be under trademark protection. Sound in general is technical in nature and sound can be produced from any source and any kind of sound can be registered, to distinguish what kind of source that can be laid under trademark the test of functiona lity is required to check if the graphical representation of the sound does not fall under the category of functional doctrine. The problem with the general public is with the understanding of non conventional trademark is to relate the graphical representation in common parlance. In the case of Sieckman where the plaintiff tried to register the formula of methy cinnamnate as à ¢Ã¢â€š ¬Ã…“C6H5-CH=CHCOOOCH3 the court rejected the contention that this is cannot be trademarked as formula cannot be held as a graphical representation. The understanding that can be related regarding to be that on view of keeping sample one really needs to look into the methods that can be acquired for graphical representation in common parlance. In USA cases of registering sound as trademark the person need to submit a sample of the sound in wav, mp3 format which help other registrarà ¢Ã¢â€š ¬Ã¢â€ž ¢s to relate to it. Even in India the yahoo doodle gave a graphical representation of its sound an al so had given a mp3 format which help to satisfy the understanding in common parlance. Trade mark jurisdictions like US, has its Trade Mark Electronic Search System (T.E.S.S.)and the European Union has its Community Trade Mark Online which are free searchable online trade mark registers, which helps ensure that graphical representation and the process of registration and also the process of registration in general fulfil their public information functions. One thing that still haunt, both the registered proprietor and the applicant/third party user since there is no clarity as to who shall determine if marks are deceptively similar, and the peril of trespass would be higher if indefinite means of representation are legalized for the purposes of registration. The juxtaposition of an unsolicited ban to recognise untraditional trademarks under legislation removes the cushion against a tone deaf judge and precludes a person of a remedy in law; but this definitely gives more food for thou ght before grant of registration in favour of unconventional marks. 1 [1] Kritarth Pandey, Non Conventional Mark Analysis, https://ssrn.com/abratct.php (last accessed on Sept. 12,2014). [2] Ibid. [3] Ralf Sieckmann v. Deutsches Patent and Markenamt, Case C-273/00, 12 Dec 2002, European Court of Justice. [4] Arka Majumdar, The Requirement Of Garaphical Representability for Non- Conventional Trademarks, Vol. 11 (5) JIPR .313-317, 316 (Sept.2006) [5] Ibid., 315. [6] Amicus letter of the INTA in Sheild Mark BV v J Kist, 91 Trademark Reporter 1269 (2001). [7] Shield Mark BV v. Kist, Case C-283/01, The European Court of Justice. [8] Supra n.3. [9] Dev Gangiee, Non-Conventional Trademarks in India, Vol. 22(1) National Law School of Indian Review, 67-95,72(2010). [10] Sound Decription, https://www.copat.de/markenformen/soundmarkenabroad2005.pdf , last accessed on Sept 11,2014 [11] The United States Trademark Association Trademark Review Commissionà ¢Ã¢â€š ¬Ã¢â€ž ¢s Report to Congress had recommended that the terms à ¢Ã¢â€š ¬Ã…“symbol or deviceà ¢Ã¢â€š ¬Ã‚  should not be deleted or narrowed to preclude registration of such things as colour ,shape ,smell or sound which function as a trademark. Their suggestion was followed by the US Congress. See Jane C. Ginsburg , Trademarks and Brands-An Inter Disciplinary Critique, 93 (Cambridge University Press 2008). [12] 15 U.S.C. Sec 1127. [13] Ralf Sieckmann v. Deutsches Patent and Markenamt, Case C-273/00,12 Dec 2002,European Court of Justice. [14] In re General Electric Broadcasting Co., Inc., 199 U.S.P.Q. 560 (T.T.A.B. 1978). [15] The concept of secondary meaning is based on the idea that marks that are descriptive of a product are ordinarily not protectable as trademarks. However, some marks may be protected if they have acquired an association or secondary meaning for the consuming public as an identifier of the source of goods. To establish secondary meaning for a mark, a party à ¢Ã¢â€š ¬Ã…“ must show that the primary significance of th e mark in the minds of the consuming public is not the product but the producer. .See Daniel R. Schechter,5 Fordham Intell. Prop. Media Ent. L.J. 481. See also Zatarains, Inc. v. Oak Grove Smokehouse, Inc., 698 F.2d 786, 791 (5th Cir.1983). [16] Supra. n. 1. [17] Supra. n. 1. [18] Supra. n.1 [19] Kawasaki Motors Corp. v. H-D Michigan, Inc., 43 U.S.P.Q.2d 1521 (T.T.A.B. 1997). [20] à ¢Ã¢â€š ¬Ã…“à ¢Ã¢â€š ¬Ã…“trade markà ¢Ã¢â€š ¬Ã‚  means a mark capable of being represented graphically and which is capable of distinguishing the goods or service of one persons from those of others and may include shape of goods, their packaging and combination of colours : and.à ¢Ã¢â€š ¬Ã‚  . [21] Trade Mark Act 1999 (Act of .47.of 1999). [22] Trade Mark Rules 2002 ( GSR 114 (E) of February 26 2002). [23] NEHA MISHRA, Registration of Non-Traditional Trademarks, Vol. 13 ,JIPR 43-58, 57 (Jan, 2008)

Workplace Diversity Within The Engineering Profession

Introduction This report will outline workplace diversity within the engineering profession, with a particular focus on female and indigenous participation. This includes an overview on what encompasses workplace diversity, its subsequent impact on business performance and the role of unconscious biases. Finally, recommendations will be outlined regarding policies to foster diverse workplaces. Workplace diversity in engineering †¨ No two engineering firms are alike in their practices, culture or professional team: elements encompassing workplace diversity. Green, et al. (2002) defined workplace diversity as â€Å"acknowledging, understanding, accepting, valuing, and celebrating differences among people with respect to age, class, ethnicity,†¦show more content†¦Results varied depending on industry and type of diversity (racial, gender, age, etc.). For racial diversity: †¢ Knouse and Dansky (1999) found that performance increased as racial diversity increased to 30% of a work group, before subsequently declining. †¢ Siciliano (1996) found greater social performance when increased quantities of minority groups were board members. Gender diversity: †¢ Tsui O Reilly, 1989 found a negative relationship between diversity and performance. †¢ Knouse and Dansky (1999) found that performance increased as women members increased between 10 and 50% a work group, before declining. Irrespective of literature, diversity is widely accepted to be positive by reducing staff-turn over, and enabling the attraction of higher caliber candidates (Lewis and Cox, 2007). Furthermore, indigenous representation in engineering will allow developmental projects in remote, Aboriginal communities to occur in a more culturally appropriate manner. The most substantial argument for diversity is the ability to improve profitability via full productive capacity (Sharp et al., 2011). For example, Mckinsey Company (2007) found â€Å"companies in the top quartile for racial and ethnic diversity are 35 % more likely to have financial returns above their respective national industry medians.† Further empirical evidence from

For Obeying With the Recommendations †MyAssignmenthelp.com

Question: Discuss about the Obeying With the Recommendations. Answer: The purpose of my memoranda is based on the issue in the regularity of information that has been provided to our future clients. Thus, there have been certain policy changes and the agents are requested to obey the guidance mentioned in this memo. From a huge survey done upon the clients it has come up that they are facing issues regarding the information that are providing about the different services we provide. Keeping this in mind, we have decided to make certain changes in our policies. Agents are requested to follow these recommendations through the changed policies for the companys benefits and good will. As we know choosing, an oversea course and study destination is a strenuous job and so students come to us for guidance. Though the agents have been aware of the policies that what to deliver and how but still there seems to be some issue regarding that. The problem might have arrived due to lack of experience of some agents; the agents should provide information regarding those universities that are under their authorization because otherwise they cannot get the proper information about those that are not tied up with them. We cannot guarantee any permanent Visa and work placement and so we should not give false hopes to attract students. Our job is to help with application and so we need to be honest throughout the application process. Education agents job is to provide assistance and provides the options for getting educating abroad. Even if the agents do not have any experience of being educated abroad, with the daily experiences they are having with the clients they must have ac quire some experiences, which should help them, grow. The changes in the policies that are recommended for the agents are that they must get acceptance from the organization before preparing any material for local marketing and for advertising them to the clients. Once they are seeking for this acceptance the hierarchy will also get to know about the materials they have prepared and thus the advertising and marketing will be free from any faults. The agents are in a way representing the moral values of the company to the clients and thus they must do indulge in any kind of unethical marketing. The agents must be confirm that that they are appropriately enlightened with the instructions that they are delivering to the clients, they must be having appropriate knowledge for the courses that they are offering because if the agents will have the accurate knowledge then only they can guide the students. There are a number of institutions, that are in our list and the agents must present all the institutions in an equitable and fairly manner s o that the clients get to know about all the options that they can opt for while they are selecting universities abroad. As we also find accommodation for the students who are going abroad through us and we are assisting them throughout thus the agents needs to be specific and honest so that the clients get what they have been promised by our agents. In this way the expectations of our clients will be encountering with the experience that they will be having in future and if they are satisfied and get what they have been promised then that will be beneficial for our company. Now apart from the universities and accommodations we also help our clients with the transport related advices. However when we are doing that we must enlighten them will the cost of estimation, the concessions as well as other benefits related to that. And lastly the advices that we for childcare services to the students abroad we must be more specific about the durations of the services like the opening hours as well as the university breaks. Thus, these are the recommendations that we want the agents to follow to get over the pr oblems that our clients are facing which can effect out good will in the future and so to avoid that we must take these precautions. Thus, from the memo you will get to know the crisis that our clients are facing and for which we have to make these upper recommendations so that they can get authentic information for studying abroad. The recommendations are given in details in this memo, which the agents must abide by. By following the upper recommendations, we can hope that our services will be providing help to the clients. In addition, if clients are satisfied with our services than they can also recommend their friends and relatives and help in expanding our marketing. Our honesty will definitely help our clients to have a hassle free journey and so in that way they will have a nice experience with us. If on the pre hand we are letting our clients know about all the benefits, concessions and estimated cost in a clear then they will have the faith on us while investing their money. By providing accurate and on the point information we can actually help the client to have built real expectations that can be met. Being clear, honest and straight towards the information we are providing we will be able to build a reputation and good name for our organization in the competitive market as well. Therefore, it is very important for our agents to be true and to obey the recommendations that are revealed in this memo to maintain the organizations reputation and provide a detail and thorough information to the clients so that they get a clear idea about education facilities and processes for going abroad. In case you have any query or if you think that, you need any assistance from our side regarding the improvised policies or anything regarding the issues, please do not hesitate to contact me in the official working hours at Sigma Global. References Hanson, V., Caputo, John S., Caputo, Giovanni. (2015).Studying Abroad: Adaptive Communication for Effective Intercultural Interactions,ProQuest Dissertations and Theses. Highum, A. (2014).Undergraduate Global Education: Issues for Faculty, Staff, and Students. New York: John Wiley Sons, Incorporated. Importance of studying abroad needs to be increased. (2017, February 27).UWIRE Text, p. 1. Lack of information prevents some students from studying abroad. (2013, March 28).UWIRE Text, p. 1. Nguyen, M. (2012). Vietnamese Students' Transitions in Study Abroad Programs.Australian Journal of Career Development,21(3), 13-22. Notre Dame adds new summer study abroad programs Students study abroad in alternative programs. (2016, January 22).UWIRE Text, p. 1. Quick Tips for Students who want to Study Abroad. (2015, March 03).UWIRE Text, p. 1. Zhuang, Weiling, King, Kristen, Carnes, Lana. (2015). Studying Abroad: Understanding the Relationships among Beliefs, Perceived Value, and Behavioral Intentions.Journal of Teaching in International Business,26(1), 32-45.

Cross Curricular free essay sample

On arrival at my placement, I thought I had embarked upon my very own baptism of fire: a school that didn’t have any facilities for textiles, the one area within which I feel most experienced, confident and comfortable. So, armed with a smile and a willingness to learn a lot in a very short amount of time, I decided to focus on the positive, face the fear of humiliation and throw myself into the ring and take the animal by the horns. This animal happens to be all elements of 2 and 3d design on the computers. During the CAD/CAM lessons at university I had really struggled, firstly with getting my head around using the computers so prolifically, as they were pretty much alien to me as a dressmaker and then secondly, learning a whole new world of designing on 2d Design and Solidworks. However, I was surprised at when push came to shove and I was in a KS3 classroom, with children needing assistance, sparks of useful (well, sometimes, useful) information would come to the fore and help out. I realised that sitting one-to-one with a pupil we could, through communication, analysis, trial and error and stamina work through the process to get to our goal. I would have been happier in these initial cases to have provided a perfectly succinct solution to the pupils’ problems, but I believe it was actually enormously beneficial to be so lacking in subject knowledge, as I built relationships with many of the pupils and became more aware of their learning styles, needs and also shared their sense of achievement. I would say that I felt more confident working with small groups or in the one-to-one scenario, rather than when I was in front of the whole class, being observed. For example,I was given ten minutes to introduce the idea of making stands for mdf mirrors that they were in the process of finishing. They had to design their stand in 2d design, which I had spent two nights trying to work out and still needed the help of the technician on the day, who gave me some top tips which made my delivery flow better. I had been in this class every week, so had built up a really good relationship with the children and was aware of those pupils who may need a little bit more support, or help to refocus on their task. However, I instantly became totally self-aware of being watched, being responsible for the learning and having a very limited ability with 2d design. Suddenly, I was very conscious that should they want to adapt the design I was showing them too elaborately, I may not be able to help them. Unfortunately and quite typically, after revealing that I was going to be teaching them how to draw, measure and modify the stand, I announced that they probably knew more about it than me and so I hoped that we could work on it together†¦my patient, accommodating and delightfully good humoured teacher, smiled at me, shook her head and mouthed ‘noooo’. Without wanting to seem arrogant, I had had no fear of standing in front of the children, having taught singing to the same age groups, before, but being watched and assessed, and the sense of consequence and the importance of my ‘teaching’ for the pupils was quite overpowering and I feel that ultimately, I lost some control of myself to nerves. I had sat down to use the power point and I felt out of touch with the class, a little, but didn’t know how I could illustrate the workings on the system by standing up. To be fair to the children, they were focused and watched me work through the process, but I feel I could have incorporated a little more participation, rather than just ask if they had any questions. On reflection of this lesson, I realised that I was more concerned about myself and the impression I was giving than I should have been and I hope to overcome this with practice and more confidence in my subject knowledge. Where I feel a little more naturally able is communicating with the pupils around the class; assessing the pupils’ needs, listening to their concerns or wishes for their product and encouraging them to think about their process and the specifications that they are working to. This has been particularly fruitful in the workshops, where I have been in several classes where the children are working with acrylic, making a toothbrush holder and a picture frame. Both the teachers who manage these classes are very assertive, have strong lesson plans, set out the objectives and outcomes very clearly to the class and regroup the pupils intermittently to discuss where they are up to, give praise and recap what is being expected of them. It also helps eliminate the monotony of working on one piece for the children, which is something I wouldn’t have thought about previously, but this works really well as the pupils seem to get a blast of encouragement and inspiration to take back to their design/object. I have found that showing a genuine interest in the pupils and their designs and asking questions about the techniques that they are using has reinforced their ideas and enhanced self-confidence in their work. In essence, I feel I have not had enough experience of taking the lessons to give a full review of what I could have learned from ‘teaching’ so far, but I will push harder to be more involved in this area, as I feel that it is something that needs a lot of work for me to become more confident in front of the class, particularly in the subjects that are taught at my placement. I feel that that the pupils do listen to me and I have been able to capture their attention and help them to be independent in their thinking. I would like to learn more about what is expected at each level within the classes and be more knowledgeable about the individual students’ needs. This should help me to draw up more comprehensive lesson plans that incorporate differentiation, time for checking that the students are on track for their own levels to which they are working and that they are understanding what is being asked of them, that they understand the project and are confident enough to take some responsibility for their own learning and growth. My pedagogical knowledge and skills will, I hope become greater as my subject knowledge is enhanced and my confidence in this is improved. It is a comfort, when talking to other student teachers that they too, feel the same way and this ‘baptism of fire’ might be the better way to start my placements, because it has forced me to focus, exploit the opportunities to use the people and the equipment that is available to me and quickly realise that it’s not all about me and my feelings in the classroom and I need to learn very thoroughly and quickly in order to teach wonderfully!