Paper details Complete this assignment according to the following: 1.Design a class that you would like to teach someday. The class must be at least 4 hours in length and must be multiple sessions. It can be four sessions of 1 hour each, or two sessions of 2 hours each, depending on your topic and target audience. 2.Begin by describing the institution that is sponsoring the class (e.g., academic, hospital, or community agency). Include the philosophy of the sponsoring organization and how that will affect the course you are developing. 3.Explain how you determined a need for this class(needs assessment). 4.Write a one-paragraph description of the class.5.Identify the target audience. 6.Identify the learning resources you will use for the class (textbooks or other resources). 7.Write the program outcomes for the course and the learner objectives for each class session. Indicate which domains of learning are represented by each learner objective.
John Steinbeck’s tale, Of Mice and Men, was first distributed in 1937. At the time, America was all the while enduring the horrid fallout of the sadness and the nomad laborers who shape the premise of the novel were particularly inside the awareness of a country isolated by riches yet determined by the possibility of ‘the American dream’. Steinbeck’s tale is, be that as it may, basically a story of dejection, of men battling alone against a chilly, coldhearted and anonymous fate. The focal heroes, George and Lennie are, as they are glad to broadcast, not the same as the others since they have one another. They are an odd couple, George the keen, wiry yet eventually minding defender of the amusingly named Lennie Small, who is, truth be told, a colossal man who doesn’t know his own quality and is rationally unequipped for settling on the littlest of choices for himself; he depends on George totally yet similarly, George needs Lennie as he gives him motivation to continue onward. Lennie, regardless of his absence of mind, detects this since when he realizes George feels regretful for being irate with him, he exploits the minute to control George into rehashing the account of their ‘fantasy future’, particularly the rabbits they plan to keep with which Lennie is fixated. They are not related but rather Lennie’s auntie has raised George and he has guaranteed her that he will take care of Lennie, presently she has kicked the bucket. The mystery dream they share, of building a coexistence on a farm and ‘liv[ing] off the fatta the lan’ is focal yet the plain title of the book, taken from Robert Burns’ sonnet ‘To a Mouse’ hints a definitive thrashing of their fantasy, since it talks about plans turning out badly. The two men are on the way for another in a progression of farm employments, having been come up short on Weed, where they recently lived and worked, in light of the fact that Lennie has been wrongly blamed for endeavored assault in light of his honest want to contact the material of a young lady’s skirt; again there is foretelling here of the heartbreaking closure of the novel. In reality, the entire of the book pursues the roundabout development built up by the setting of the start of the novel and modifying portrayals utilized there in the consummation which happens in a similar spot, where Lennie has been cautioned to return whether anything turns out badly which unavoidably it does. Upon landing in the farm, Steinbeck accepts the open door to present the peruser, by means of the newcomers, to a panoply of characters, all antisocial people for some reason: the old, debilitated and demoralized Candy, the dark, disabled and detached Crooks, the feisty and pompous manager’s child, Curley, who is recently and miserably hitched, his better half being what the others call a ‘tramp’, and the god-like Slim, to whom all the others gaze upward and to whom they all search for a picture to love. Steinbeck utilizes each of these distinctively to demonstrate features of depression and separation, with just Slim appearing past the possibility that he is an object of pity. From the principal, George is anxious about the possibility that that the forceful supervisor’s child, Curley, will cause inconvenience for himself and Lennie in light of the fact that he is a beginner fighter who sees Lennie’s size as a test and may be ‘helpful’. In any case, when he is engaged with a fierce episode with Curley through no blame of his own, Lennie smashes his hand and Slim cautions him that on the off chance that anything is said about it, he will make Curley look a trick, the thing he knows Curley fears most. To be sure, Steinbeck unendingly utilizes Slim as his focal point of cognizance in the novel, the man in whom George trusts, in a cautiously arranged ‘confession booth’ scene, for instance, where even the lighting mirrors the serious interrogative. Thin is additionally the just a single of the men who seems to have any sort of association with Crooks. It is no occurrence, either, that it is Slim who solaces and consoles George toward the finish of the book, letting him know ‘You hadda, George. I swear you hadda’ and driving him away. Maybe the most disputable part of Steinbeck’s tale is without a doubt his depiction of ladies. The main female character to have a genuine nearness in the book is Curley’s significant other, who seems to have hitched Curley spontaneously, having been disillusioned in her preposterous desire to end up a film star, and is as of now plainly watchful for a superior prospect. She plays with the men, is unmistakably pulled in to Slim, and manhandles Crooks, underscoring as she does this the racial pressures of the time. Alternate references to ladies are to whores and Lennie’s late close relative, rather strangely offering a name to the nearby ‘madam’ of the house of ill-repute. Steinbeck here exposes himself to the charge of sexism, particularly since in different works, for example, East of Eden, which he wrote in 1952, ladies are comparatively depicted as a capture to men, maybe showing a connective with troubles in his own life. Taking everything into account, nonetheless, it must be said that the persisting intrigue of Steinbeck’s ground-breaking novel remains naturally the moving acknowledgment of the focal connection among George and Lennie and how their somewhat unintentional meeting up progresses toward becoming for both the characterizing feeling of their lives. Decisively in light of the fact that there are two of them, that somebody, as George says, ‘cares at all’, Steinbeck can feature the dejection of the nomad wanderers of whom he likewise composes movingly in The Grapes of Wrath (1939). The sharing of their fantasy with the urgent Candy is it could be said the start of the end in light of the fact that as it turns out to be right around a reality it is at the same time broken by the interruption of plausibility symbolized by him. In Of Mice and Men, Steinbeck made an across the country issue human and in doing as such, he made characters who keep on both move and irritate. Catalog: Cynthia Burkhead, Student Companion to John Steinbeck, (Greenwood Press, Westport, CT., 2002). Donald V. Coers, Paul D. Ruffin and Robert J. DeMott, eds., After the Grapes of Wrath: Essays on John Steinbeck in Honor of Tetsumaro Hayashi, (Ohio University Press, Athens, OH, 1995). Robert DeMott, Steinbeck’s Typewriter: Essays on His Art, (The Whitston Publishing Company Troy, New York 1997). Tetsumaro Hayashi, John Steinbeck: The Years of Greatness, 1936-1939, (University of Alabama Press, Tuscaloosa, AL, 1993). Arthur Hobson Quinn and Appleton-Century-Crofts, The Literature of the American People: A Historical and Critical Survey, (Appleton-Century-Crofts, New York 1951). Claudia Durst Johnson, Understanding of Mice and Men, the Red Pony, and the Pearl: A Student Casebook to Issues, Sources, and Historical Documents, (Greenwood Press, Westport, CT., 1997). John Steinbeck, Of Mice and Men, (Longman, Harlow, 2000). John Steinbeck IV and Nancy Steinbeck, The Other Side of Eden: Life with John Steinbeck, (Prometheus Books, Amherst, NY, 2001).>