Develop a standardized template for evaluating courses in a selected program. Include a 1-page executive summary containing the rationale and justification for the methods selected. The purpose of a course evaluation is to ensure that your course is, in fact, serving the intended purpose and assessing the learning outcomes and instructional content. Standardized templates are useful for learners, faculty, and the organization because they allow you to establish expectations and ensure data collected give you the right kind of information upon which to make evidence-based decisions related to meeting learners’ and the organization’s needs and goals.
This is a two-part assessment. The first part is the development of a standardized course evaluation template. The second part is an executive summary addressed to a workplace supervisor.
Determine the best approach for evaluating whether the learning objectives and program outcomes are being assessed adequately in your course. Make use of your work from the previous assessments in the creation of your standardized course assessment template.
Create a standardized template that clearly measures the course’s ability to achieve the learning objectives and outcomes stated in your earlier assessments in this course.
Sample Solution
h McCabe allows us to experience his shockingly infantile thought processes, despite the violence that he is contemplating. The end of the novel reveals how Francie’s sense of identity has shifted, affected by his fantasies and the daily, frequently violent, experiences in his dysfunctional family: he has drifted from being a manic fantasist to a murderer who kills his neighbour Mrs Nugent as if “she [were] another pig in his slaughterhouse”, degrading the level of humans to that of animals and feeling completely undisturbed by this comparison he himself has made. Of course, throughout the novel Francie is labelled by Mrs. Nugent as “Francie Pig”, and lacking the tools he needs to retaliate, Francie’s only recourse is to eventually give in and adopt the identity; thus he constantly returns to Mrs. Nugent’s definition of him and his family as a way of establishing his identity. By labeling the Brady family as pigs, Mrs. Nugent discounts their existence – their poverty and anguish are ultimately not the community’s issue due to their sub-humanness being the source of the problems. However, Francie internalizes this trauma for so long that towards the end, the murder of Mrs. Nugent emerges as the inevitable end to his futile quest for an identity; he cannot undo her categorization of “piggishness” with the Brady family, therefore he must eliminate the source of this identity. The most troubling aspect of both dystopias and their violent protagonists is the morbid fascination we experience, despite their disturbing acts. Readers of A Clockwork Orange may be sickened by Alex’s description of the red “krovvy” (Nadsat term for ‘blood’) flowing “beautiful”, by Burgess’s stylization of language to describe something hardly ever associated with ‘attraction’. Howeve¬r, the depiction of demonic teens in the novel, particularly after the release of Kubrick’s movie version, spawned many copycat crimes, proving that there really is something about ultraviolence that appeals to people. Burgess explained it as follows: “Unfortunately there is so much original sin in us all that we find evil rather attractive. To devastate is easier and more spectacular than to create. We like to have the pants scared off us by visions of cosmic destruction.” A Clockwork Orange presents the attraction to evil as a natural part of being human. Alex does evil simply because he likes to. While his violence cannot be condoned, perhaps the point is that violence and evil must be recognized as a natural part of humanity—just as natural as good. It will never be e>
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