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A Mustard Seed Develops Exponentially?

Sometimes an apology
is aesthetically necessary.
To excuse a moment of muddled
distracted introverted preoccupation.
Even though or when inferably...
an apology is not necessary.

Sometimes an apology
is absolutely necessary.
To excuse a moment of extreme stupidity
or faux pas various social misdemeanors.
Even when we may be absolutely innocent
framed misunderstood or sadly guilty as sin.

Such socially interactive afterthought
and kind commendable consideration.
Is a character forming trait
that can appease elevate beautify.
A mere agitated mortal into
a person attaining great compassion.

These are tiny mustard seeds
of apparent insignificance.
From which the mighty
mustard tree may grow.

‘The kingdom of the heavens
is like a mustard grain, ...
and becomes a tree, so that the birds
of heaven come and find lodging...'

poem by Terence George Craddock
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Social Netowrking Of Robots

end of world war
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poem by Rwetewrt Erwtwer
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Innocent World

I used to live in an innocent world
I had a car and a pretty blond girlfriend
We was too young to know what we were doing
And anyway I was just fooling around
Innocent innocent innocent world
Innocent innocent innocent world
Innocent innocent innocent world
With a cute little monkey on my back
And a total disregard for the facts
Id run away and never get back
From my innocent world
There aint no reason to tell no lie
When youre young and youve got a lot of pie
Now I slink around like a killer
The things they say are just a lot of filler
In my mind, in my mind
Innocent innocent innocent world
Innocent innocent innocent world
Innocent innocent innocent world
Running, laughing in the sun
And always having lots of fun
Smoking dope and just being young
In my innocent world
Innocent innocent innocent world
Innocent innocent innocent world
Innocent innocent innocent world
With a cute little monkey on my back
And a total disregard for the facts
Id run away and never get back
From my innocent world
Innocent innocent innocent world
Innocent innocent innocent world
Innocent innocent innocent world
Innocent innocent innocent world

song performed by Iggy Pop
Added by Lucian Velea
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Guilty

Guilty, guilty
Guilty, I'm paralyzed with guilt
It runs through me like a rain through silk
Guilty, my mind won't leave me alone
My teeth are rotted
my lips start to foam
Cause I'm so guilty
Guilty, guilty
Ooohhh guilty
What did I say
What did I say
What did I do
Did I ever do it to you
Don't turn your back, ah
I can't look you in the eye, ah
Eye eye eye eye
I guess I'm guilty as charged
I guess I'm guilty as charged
Guilty, huh, guilty ah, guilty ah, guilty
Guilty guilty guilty guilty guilty
Don't do that
Don't do that
Don't do what
Oh you're such a child
real fool child
Guilty
What can I do
I do it to you
but I do it to me too
Cut off my head
Cut off my head
Cut off my head, ah
Hang me from the yardarm
Guilty, I'm paralyzed with guilt
I've got bad thoughts
I've got an evil clit
Guilty
Guilty, my mind won't leave me alone
I've got a bad mind
I've got a bad bone
Guilty guilty guilty as charged
Guilty
Don't do that
Don't do what
Don't do that
Oh you're such a reckless child
You remember when you were a baby
Do you remember when you were a baby
Do you have a jury, yeah
Do you have a verdict

[...] Read more

song performed by Lou Reed
Added by Lucian Velea
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Guilty

Just tried to have fun raised hell and then some
I'm a dirt-talkin', beer drinkin', woman chasin' minister's son
Slap on the make-up and blast out the music
Wake up the neighbors with a roar like a teenage heavy metal elephant gun
If you call that guilty then that's what I am
I'm guilty
I'm guilty
I like driving too fast
Love going too far
It seems the law's on my ass every time I stick it out of the door
If you call that guilty then that's what I am
I'm guilty
I'm guilty
Bad boy on a summer night
When the heat makes me mean and I wanna fight
With my pedal to the metal
And I do what I want to do
Bad girls make me feel all right
When it's hot and they start screaming in the night
Golly gee, it's wrong to be so guilty
I'm guilty
Guilty
I'm guilty
My conscience is on vacation in acute degeneration
Willpower has sunk to all-time low
If you call that guilty well I guess I am
I'm guilty
I'm guilty
If you call that guilty then that's what I am
I'm guilty, I'm guilty, I'm guilty, I'm guilty
I'm guilty, I'm guilty, I'm guilty, I'm guilty
Well I'm guilty
Yeah I'm guilty
I don't care
I'm guilty
I think I've been framed anyway
They said I'm guilty
I'm guilty
They're guilty and everyone is guilty

song performed by Alice Cooper
Added by Lucian Velea
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Guilty Of Love

(coverdale)
I believe my love for you
Is a love that will last forever,
An Im here to testify
Im a prisoner of your heart
Baby dont you believe
When I tell you I love you
That I really mean it,
Dont you walk away,
Dont you turn your back on me
Im guilty of love,
Its a crime of passion
Guilty of love,
An theres no doubt about it,
No doubt about it
Im guilty of love,
Im guilty of love,
Im guilty,
In the first degree
Guilty of love,
Im guilty of love,
Im guilty,
In the first degree
I can never forget the times
When I took what you gave me for granted
So I stand accused
An I plead guilty to the crime
You can lock me away if you want
Just as long as your arms are around me,
An I wont mind
If you just throw away the key
Im guilty of love,
Its a crime of passion
Guilty of love,
An theres no doubt about it,
No doubt about it
Guilty of love,
Im guilty of love,
Im guilty,
In the first degree
Guilty of love,
Im guilty of love,
Im guilty,
In the first degree
Guilty of love...
Im guilty of love,
Its a crime of passion
Guilty of love,
An theres no doubt about it,
No doubt about it

[...] Read more

song performed by Whitesnake
Added by Lucian Velea
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L’Invention

O fils du Mincius, je te salue, ô toi
Par qui le dieu des arts fut roi du peuple-roi!
Et vous, à qui jadis, pour créer l'harmonie,
L'Attique et l'onde Égée, et la belle Ionie,
Donnèrent un ciel pur, les plaisirs, la beauté,
Des moeurs simples, des lois, la paix, la liberté,
Un langage sonore aux douceurs souveraines,
Le plus beau qui soit né sur des lèvres humaines!
Nul âge ne verra pâlir vos saints lauriers,
Car vos pas inventeurs ouvrirent les sentiers;
Et du temple des arts que la gloire environne
Vos mains ont élevé la première colonne.
A nous tous aujourd'hui, vos faibles nourrissons,
Votre exemple a dicté d'importantes leçons.
Il nous dit que nos mains, pour vous être fidèles,
Y doivent élever des colonnes nouvelles.
L'esclave imitateur naît et s'évanouit;
La nuit vient, le corps reste, et son ombre s'enfuit.

Ce n'est qu'aux inventeurs que la vie est promise.
Nous voyons les enfants de la fière Tamise,
De toute servitude ennemis indomptés;
Mieux qu'eux, par votre exemple, à vous vaincre excités,
Osons; de votre gloire éclatante et durable
Essayons d'épuiser la source inépuisable.
Mais inventer n'est pas, en un brusque abandon,
Blesser la vérité, le bon sens, la raison;
Ce n'est pas entasser, sans dessein et sans forme,
Des membres ennemis en un colosse énorme;
Ce n'est pas, élevant des poissons dans les airs,
A l'aile des vautours ouvrir le sein des mers;
Ce n'est pas sur le front d'une nymphe brillante
Hérisser d'un lion la crinière sanglante:
Délires insensés! fantômes monstrueux!
Et d'un cerveau malsain rêves tumultueux!
Ces transports déréglés, vagabonde manie,
Sont l'accès de la fièvre et non pas du génie;
D'Ormus et d'Ariman ce sont les noirs combats,
Où, partout confondus, la vie et le trépas,
Les ténèbres, le jour, la forme et la matière,
Luttent sans être unis; mais l'esprit de lumière
Fait naître en ce chaos la concorde et le jour:
D'éléments divisés il reconnaît l'amour,
Les rappelle; et partout, en d'heureux intervalles,
Sépare et met en paix les semences rivales.
Ainsi donc, dans les arts, l'inventeur est celui
Qui peint ce que chacun put sentir comme lui;
Qui, fouillant des objets les plus sombres retraites,
Étale et fait briller leurs richesses secrètes;
Qui, par des noeuds certains, imprévus et nouveaux,

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poem by Andre Marie de Chenier
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Shiranakatta

Shiranakatta, shiranakatta,
Shiranakatta, shiranakatta,
Tatta hitokoto ittekuretara
Sugunimo tonde itlanoni,
Shiranakatta, shiranakatta, shiranakatta,
Je ne savais pas, je ne savais pas,
Je ne savais pas, je ne savais pas,
Pourquoi tu ne m'a pas dit
Que tu souffrais?
Je serais venu vite vers toi
Mais, je ne savais pas, je ne savais pas, je ne savais pas.
Tremblant de peur d'avoir besoin de toi,
Tremblant de peur de te desirer.
Je ne savais pas, je ne savais pas,
Je ne savais pas, je ne savais pas,
Pourquoi tu ne m'a pas dit
Que tu n'avais desirer?
J'aurais couru vers toi
Mais, je ne savais pas, je ne savais pas, je ne savais pas.
I didn't know, i didn't know,
I didn't know, i didn't know,
Why didn't you tell me you were in pain?
I would have come to you so quickly.
But i didn't know, i didn't know, i didn't know.
Feeling cold from fear of needing you,
Feeling faint from fear of wanting you.
But i didn't know, i didn't know,
I didn't know, i didn't know,
Why didn't you tell me you missed me, too?
I would have come to you so quickly.
But i didn't know, i didn't know, i didn't know.

song performed by Yoko Ono
Added by Lucian Velea
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Shiranakatta (I Didn't Know)

Shiranakatta, shiranakatta,
Shiranakatta, shiranakatta,
Tatta hitokoto ittekuretara
Sugunimo tonde itlanoni,
Shiranakatta, shiranakatta, shiranakatta,
Je ne savais pas, je ne savais pas,
Je ne savais pas, je ne savais pas,
Pourquoi tu ne ma pas dit
Que tu souffrais?
Je serais venu vite vers toi
Mais, je ne savais pas, je ne savais pas, je ne savais pas.
Tremblant de peur davoir besoin de toi,
Tremblant de peur de te desirer.
Je ne savais pas, je ne savais pas,
Je ne savais pas, je ne savais pas,
Pourquoi tu ne ma pas dit
Que tu navais desirer?
Jaurais couru vers toi
Mais, je ne savais pas, je ne savais pas, je ne savais pas.
I didnt know, I didnt know,
I didnt know, I didnt know,
Why didnt you tell me you were in pain?
I would have come to you so quickly.
But I didnt know, I didnt know, I didnt know.
Feeling cold from fear of needing you,
Feeling faint from fear of wanting you.
But I didnt know, I didnt know,
I didnt know, I didnt know,
Why didnt you tell me you missed me, too?
I would have come to you so quickly.
But I didnt know, I didnt know, I didnt know.

song performed by Yoko Ono
Added by Lucian Velea
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A Mustard Tree

Sometimes an apology
is aesthetically necessary.
To excuse a moment of muddled
distracted preoccupation.
Even though or when inferably...
an apology is not necessary.

Such socially interactive afterthought
and commendable consideration.
Is a character forming trait
that can appease elevate.
A mere agitated mortal into
a person attaining great compassion.

These are mustard tiny seeds
of apparent insignificance.
From which the mighty
mustard tree may grow.

poem by Terence George Craddock
Added by Poetry Lover
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Yele

*tropical music playing in background*
Wyclef (echo):
Yo, yo, I wanna give a shout-out
To the world.
This is wyclef, cold-chillin
Out here with my pina-colada.
Yeah, baby.
Im in the islands, cold relaxin.
Right about now the carnivals
Gonna change phases.
If you got your ticket, man,
Youre allowed to come with me.
Yo, for right now Im gonna
Chill in the beach,
Check out the pretty girls
Layin back.
You know how we do, playa yo.
Im out here in the sun, baby,
Its all good!
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas ? a, pays en li va coul.
Quand quou yon bateau qui plein rfijis,
Si nou pas chch bon djie, encore !
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas ? a, pays nou libral coul.
Quand quou yon bateau qui plein rfijis,
Izrael chch bon djie, tand !
Dix milles cercueils, gad toutes cest ti-mounes.
P ap cri, mais yo pap rsucit.
Manman rl, mais cadav, pas ka tand !
Zinglin dou pass, mwen tand ? blo ! blo ! blo! blo ! ?
Lord...
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas ? a, pays nou li val coul.
Quand quou yon bateau qui plein rfijis,
Ha? tiens ! chch bon djie, encore!
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas ? a, pays nou libral coul.
Quand quou yon bateau qui plein rfijis,
Izrael chch bon djie.
Mwen con yon ha? tien.
Qui tap vend marijuana.
Police t quinbl,
Li dit cest poutet manman t gin canc ( li pas gin lagent!)
Counya li nan prison, (pou combien temps? )
Lap palm de rvolution (sans solutions!)

[...] Read more

song performed by Wyclef Jean
Added by Lucian Velea
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Yel

*Tropical music playing in background*
Wyclef (echo):
Yo, yo, I wanna give a shout-out
to the world.
This is Wyclef, cold-chillin'
out here with my pina-colada.
Yeah, baby.
I'm in the islands, cold relaxin'.
Right about now the carnival's
gonna change phases.
If you got your ticket, man,
you're allowed to come with me.
Yo, for right now I'm gonna
chill in the beach,
check out the pretty girls
layin' back.
You know how we do, playa yo.
I'm out here in the sun, baby,
it's all good!
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas a, pays en li va coul.
Quand quou yon bateau qui plein rfijis,
Si nou pas chch bon djie, encore !
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas a, pays nou libral coul.
Quand quou yon bateau qui plein rfijis,
Izrael chch bon djie, tand !
Dix milles cercueils, gad toutes cest ti-mounes.
P ap cri, mais yo pap rsucit.
Manman rl, mais cadav, pas ka tand !
Zinglin dou pass, mwen tand Blo ! Blo ! Blo! Blo !
Lord
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas a, pays nou li val coul.
Quand quou yon bateau qui plein rfijis,
Hatiens ! chch bon djie, encore!
Si ou gin zorey, tand,
Si ou gin bouche, pal.
Si pas a, pays nou libral coul.
Quand quou yon bateau qui plein rfijis,
Izrael chch bon djie.
Mwen con yon Hatien.
Qui tap vend Marijuana.
Police t quinbl,
Li dit cest poutet manman t gin canc ( li pas gin lagent!)
Counya li nan prison, (pou combien temps?)
Lap palm de rvolution (sans solutions!)

[...] Read more

song performed by Wyclef Jean
Added by Lucian Velea
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XI. Guido

You are the Cardinal Acciaiuoli, and you,
Abate Panciatichi—two good Tuscan names:
Acciaiuoli—ah, your ancestor it was
Built the huge battlemented convent-block
Over the little forky flashing Greve
That takes the quick turn at the foot o' the hill
Just as one first sees Florence: oh those days!
'T is Ema, though, the other rivulet,
The one-arched brown brick bridge yawns over,—yes,
Gallop and go five minutes, and you gain
The Roman Gate from where the Ema's bridged:
Kingfishers fly there: how I see the bend
O'erturreted by Certosa which he built,
That Senescal (we styled him) of your House!
I do adjure you, help me, Sirs! My blood
Comes from as far a source: ought it to end
This way, by leakage through their scaffold-planks
Into Rome's sink where her red refuse runs?
Sirs, I beseech you by blood-sympathy,
If there be any vile experiment
In the air,—if this your visit simply prove,
When all's done, just a well-intentioned trick,
That tries for truth truer than truth itself,
By startling up a man, ere break of day,
To tell him he must die at sunset,—pshaw!
That man's a Franceschini; feel his pulse,
Laugh at your folly, and let's all go sleep!
You have my last word,—innocent am I
As Innocent my Pope and murderer,
Innocent as a babe, as Mary's own,
As Mary's self,—I said, say and repeat,—
And why, then, should I die twelve hours hence? I—
Whom, not twelve hours ago, the gaoler bade
Turn to my straw-truss, settle and sleep sound
That I might wake the sooner, promptlier pay
His due of meat-and-drink-indulgence, cross
His palm with fee of the good-hand, beside,
As gallants use who go at large again!
For why? All honest Rome approved my part;
Whoever owned wife, sister, daughter,—nay,
Mistress,—had any shadow of any right
That looks like right, and, all the more resolved,
Held it with tooth and nail,—these manly men
Approved! I being for Rome, Rome was for me.
Then, there's the point reserved, the subterfuge
My lawyers held by, kept for last resource,
Firm should all else,—the impossible fancy!—fail,
And sneaking burgess-spirit win the day.
The knaves! One plea at least would hold,—they laughed,—
One grappling-iron scratch the bottom-rock

[...] Read more

poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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[9] O, Moon, My Sweet-heart!

O, Moon, My Sweet-heart!
[LOVE POEMS]

POET: MAHENDRA BHATNAGAR

POEMS

1 Passion And Compassion / 1
2 Affection
3 Willing To Live
4 Passion And Compassion / 2
5 Boon
6 Remembrance
7 Pretext
8 To A Distant Person
9 Perception
10 Conclusion
10 You (1)
11 Symbol
12 You (2)
13 In Vain
14 One Night
15 Suddenly
16 Meeting
17 Touch
18 Face To Face
19 Co-Traveller
20 Once And Once only
21 Touchstone
22 In Chorus
23 Good Omens
24 Even Then
25 An Evening At ‘Tighiraa’ (1)
26 An Evening At ‘Tighiraa’ (2)
27 Life Aspirant
28 To The Condemned Woman
29 A Submission
30 At Midday
31 I Accept
32 Who Are You?
33 Solicitation
34 Accept Me
35 Again After Ages …
36 Day-Dreaming
37 Who Are You?
38 You Embellished In Song

[...] Read more

poem by Mahendra Bhatnagar
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I. The Ring and the Book

Do you see this Ring?
'T is Rome-work, made to match
(By Castellani's imitative craft)
Etrurian circlets found, some happy morn,
After a dropping April; found alive
Spark-like 'mid unearthed slope-side figtree-roots
That roof old tombs at Chiusi: soft, you see,
Yet crisp as jewel-cutting. There's one trick,
(Craftsmen instruct me) one approved device
And but one, fits such slivers of pure gold
As this was,—such mere oozings from the mine,
Virgin as oval tawny pendent tear
At beehive-edge when ripened combs o'erflow,—
To bear the file's tooth and the hammer's tap:
Since hammer needs must widen out the round,
And file emboss it fine with lily-flowers,
Ere the stuff grow a ring-thing right to wear.
That trick is, the artificer melts up wax
With honey, so to speak; he mingles gold
With gold's alloy, and, duly tempering both,
Effects a manageable mass, then works:
But his work ended, once the thing a ring,
Oh, there's repristination! Just a spirt
O' the proper fiery acid o'er its face,
And forth the alloy unfastened flies in fume;
While, self-sufficient now, the shape remains,
The rondure brave, the lilied loveliness,
Gold as it was, is, shall be evermore:
Prime nature with an added artistry—
No carat lost, and you have gained a ring.
What of it? 'T is a figure, a symbol, say;
A thing's sign: now for the thing signified.

Do you see this square old yellow Book, I toss
I' the air, and catch again, and twirl about
By the crumpled vellum covers,—pure crude fact
Secreted from man's life when hearts beat hard,
And brains, high-blooded, ticked two centuries since?
Examine it yourselves! I found this book,
Gave a lira for it, eightpence English just,
(Mark the predestination!) when a Hand,
Always above my shoulder, pushed me once,
One day still fierce 'mid many a day struck calm,
Across a Square in Florence, crammed with booths,
Buzzing and blaze, noontide and market-time,
Toward Baccio's marble,—ay, the basement-ledge
O' the pedestal where sits and menaces
John of the Black Bands with the upright spear,
'Twixt palace and church,—Riccardi where they lived,
His race, and San Lorenzo where they lie.

[...] Read more

poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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Sociology Assignment

THE APPLICATION OF SOCIOLOGY OF EDUCATION IN CLASSROOM TEACHING

INTRODUCTION
Sociology of education, as defined by Pavalko (1976) , is the scientific analysis of the social processes and patterns involved in the educational system. It is concerned with educational aims, methods, and institutions in relation to social and cultural forces of the society in which they function. This assumes that education is a combination of social acts and it deals with human interaction. In the education of the individual, it concerns the influence of social life and social relationships on the development of personality. Sociology of education is very significant as it introduces a teacher to a collection of techniques that are required in classroom teaching. Such techniques include; understanding and applying interaction in the classroom, the disposition of norms to the students by the teachers, understanding teacher-student relationship and communication, provision of career guidance and finally understanding social roles of teachers and students. This essay, therefore, discusses how we, as teachers to be, can apply the above sociological techniques in classroom teaching in secondary schools.

INTERACTION
A classroom, like any other social group, requires all the members to participate and interact with each other for a common goal. A teacher as a leader in the classroom can make sure that there is interaction among his/her students by forming study groups or circles. In these study circles there is mutual influence and benefit among students since students can participate in the discussions that the group undertakes. Interaction in these groups can be cooperative and competitive among students (Ottaway,1960) .

In these groups members are in face to face interaction with each other and there are a small number of participants, this encourages the students to speak out their minds on a given topic. This is so because in a small group every student is given a chance to express himself/herself as compared to the whole class. This gives a chance to some students who can not express themselves fully when there are many people around them. This helps students to build self confidence since their views can be heard by their peers. It also builds a habit of doing things together as a result there is unity among members of the group (Ashley et. al.,1970) .

In this case, the teacher as a leader in the classroom does not dominate in the classroom activities but rather just controls the thoughts and behaviour of his pupils and sets the tone of the interaction patterns in the classroom. The teacher is also there to facilitate in the discussions. However, a teacher needs not to always be present in these groups since some students may not interact fully in the presence of their teacher than their peers. In this case, indirect control from a teacher may be more effective than direct (Ottaway,1960) .

NORMS
Sociology of education analyzes the sociological processes that have a bearing in the education system. One of such sociological processes is the disposition of norms that a teacher imparts in his/her students through interaction in class. The students’ awareness of these norms facilitates the teaching process, on the part of the teacher, and the learning process on the part of students. The impartation of norms on the students is referred to as the hidden curriculum because it is not included on the formal curriculum. Though not included on paper, the students are supposed to know these norms because the way they conduct themselves in class (morally) will affect the teaching and learning processes either positively or negatively. For instance, some students may choose not to cooperate in taking assignments. This tendency may be triggered by the students’ lack of proper direction in their behavior that departs from the values and norms that guide the society. Such students if not handled professionally by the teacher may cause havoc in class. This is where sociology of education becomes vital to classroom management in secondary schools. In sociology of education a teacher learns how to manage students, both those who are morally upright and those morally decayed.

Sociology of education also instructs teachers to be exemplary. The teaching ethics are also very clear on this point as Ashley et al. (1970) declare that teaching professional training emphasizes moral virtues and exemplary behavior on the part of teachers. They have to behave, dress and speak as role models. True to that proverb that says “action speaks louder than words”, teacher’s behavior will have a great impact on the conduct of his/her students. If the teacher is not morally upright the students are likely to be like him/her in their conduct. One other point that may help curb indiscipline in students is through the provision of enough work to keep the students busy. This is helpful because when the students are idle they tend to misbehave (Abromitis,2009) .

TEACHER-STUDENT RELATIONSHIP AND COMMUNICATION
The maintenance of a harmonious social relationship between a teacher and those undergoing socialization (students) , is one of the applications of sociology of education in a classroom. The social interaction within the classroom will help teachers understand the psychological variables that affect the social behaviour of students. For instance, a student’s performance may be affected by poverty and funeral at home among other things. This stresses that each individual is a member of a wide family and gets influenced by social and cultural factors as well. A teacher, therefore, is supposed to identify those students who are not doing well in class as expected and try to find the source of their problems and counsel them accordingly. For instance, sociology of education enables a teacher to establish the real cause of impoliteness in some students that even cause destructions during classes. A teacher does this through inquiries that he/she makes about the naughty students’ back ground that sometimes may be responsible for the students’ bad behavior.

The teacher’s awareness of such backgrounds will enable him/her to know where to start the intervention of shaping the behavior of students. When the good behavior of once ill-mannered students is restored, the teaching and learning processes go smoothly. This suggests that there should be a good communication and interaction between teachers and students. However, Zeleny (1948) as cited in Pavalko (1976) warns that the teacher should not be too friendly with the students. This is because it will be very difficult to provide counseling to them and eventually fail to induce changed behaviour when they go wrong.
CAREER GUIDANCE
A school as a social institution is expected to produce people who are reliable for continuity of a society as far as leadership and management of social institutions is concerned. In view of this, we can say it is important for teachers to include lessons in decision-making and career guidance. Though career guidance is over looked by many schools, it plays an important role. Harris (1999) says career guidance helps students to identify the work-related competences they are developing through the various school subjects and relate them to their career planning. In short, career guidance acts as an advocate for students in establishing their career ladders.

Career guidance needs enforcement because not all students are aware of the different job opportunities that are in the corporate world. For instance, asking children from rural areas about their ambitions, most of them will talk about nursing and teaching as opposed to those from urban areas who will talk of becoming, a pilot, an accountant, a lawyer and many more. This is due to parents’ or guardians’ ‘level of education and children’s exposure to media or other sources of information. Therefore, a teacher should not take it for granted that all students are aware about careers.

A teacher can impart career lessons through different ways. First of all, a teacher needs to include in his or her curriculum a special time at least 20 to 30 minutes per week for career lessons (Harris,1999) . In a classroom, a teacher may use personal approach, where he or she can ask students of their ambitions and provide information on the requirements and the institution(s) that offer(s) them. Secondly, a teacher can use interactive and experimental exercises, where he or she can put students into groups and ask them to interview different personnel on their professions and how they managed to achieve them. Afterwards students can present their findings to a class. Apart from motivating students, this method can also promote interaction between students and the community.

SOCIAL ROLES OF TEACHERS AND STUDENTS
Social role is among the five basic concepts in the sociology of education. A social role is a behavior appropriate to a particular position in a social group. A classroom as a sub-social system has actors and participants, who are teachers and students respectively. Sociology of education enables a teacher to realize his/her role and at the same time helps the students realize theirs. The teacher playing his/her role has to teach and encourage the students to learn. The role of a teacher is really a combination of sub-roles which the skillful teacher fits to produce a useful pattern of teaching. One of these sub-roles includes, being an instructor, whereby the teacher gives instructions and shows the students in a classroom how to learn and answer questions. This is the role the teacher prepares for, explicitly and directly. On the other hand, the students on their part have to listen, attend classes, submit assignments regularly and take examinations. Cooperation demands high degree of predictability of conduct and requires that individuals should make personal sacrifices in favour of societal expectations. In other words, where a teacher’s personal interests or commitments are in conflict with his or her role as a teacher, his/her personal interests have to give way to his/her teaching role (Ezewu,1983) .

There is a social and a personal aspect of every role that is significant to an individual. For instance, a person learns the expected and rewarded behaviour for each role. Students learn when to give priority to a particular role. In a classroom situation, the students learn to take the role of a pupil most of the time rather than the role of a playmate. (Havighurst et al.,1963) .

CONCLUSION
After discussing the above sociological techniques we have the audacity to conclude that Sociology of education adds to the teacher’s kit of intellectual tools. In this case, a set of sociological insights and concepts that will allow him/her to take account in his decision-making organization, cultural and interpersonal factors at work in his/her environment. Therefore, Sociology of education is essential as it equips teachers with great knowledge on how to socialize their students in a classroom situation in secondary schools.

LIST OF REFERENCES.

Abromitis, B. (2009, Feb 27) .Teachers Creating an effective learning Environment in a
monitored Classroom; Sociology of Education. www.google.com.

Ashley, J.B., Cohen, S.H., & Slatter, R.G. (1970) . An Introduction to the Sociology of
Education. Macmillan and Co Ltd: London & Basingstoke, pp.117-139

Ezewu, E.B.A. (1983) . Sociology of Education. Longman: London, pp.13-14

Harris, S. (1999) . Careers education: contesting policy and practice. Sage

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poem by Innocent Masina Nkhonyo
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High Crimes & Misdemeanors

Written by dennis deyoung
Lead vocals by dennis deyoung
They want you to believe
The unbelievable
They say you should accept
The unacceptable
Forget your common sense
It isnt sensible
Good times for fools and dreamers
Watch em all deny
The undeniable
See how they refute
The unrefutable
Theyre ready to defend
The indefensible
High times for lawyer schemers
They say we must forgive
The forgivable
They want us to respect
The unrespectable
The pious and the hip
So hypocritical
High crimes and misdemeanors
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
See how they explain
The inexplicable
Watch em debate
The undebatable
Apparently a lie
Is never liable
Prime time for talk show screamers
They say we constitute
The constitutional
With justice here for all
So justifiable
Im tryin not to laugh
But man its laughable
High crimes and misdemeanors
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
And so
Today we find
Theyve changed their minds
Theyve switched their points of view
Oh what tangled webs they weave

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song performed by Styx
Added by Lucian Velea
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High Crimes & Misdemeanors (Hip Hop-Crazy)

Written by Dennis DeYoung
Lead Vocals by Dennis DeYoung
They want you to believe
The unbelievable
They say you should accept
The unacceptable
Forget your common sense
It isn't sensible
Good times for fools and dreamers
Watch 'em all deny
The undeniable
See how they refute
The unrefutable
They're ready to defend
The indefensible
High times for lawyer schemers
They say we must forgive
The forgivable
They want us to respect
The unrespectable
The pious and the hip
So hypocritical
High crimes and misdemeanors
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
See how they explain
The inexplicable
Watch 'em debate
The undebatable
Apparently a lie
Is never liable
Prime time for talk show screamers
They say we constitute
The Constitutional
With justice here for all
So justifiable
I'm tryin' not to laugh
But man it's laughable
High crimes and misdemeanors
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
Hip hop hip hop-cracy hip hop
And so
Today we find
They've changed their minds
They've switched their points of view
Oh what tangled webs they weave

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song performed by Styx
Added by Lucian Velea
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IV. Tertium Quid

True, Excellency—as his Highness says,
Though she's not dead yet, she's as good as stretched
Symmetrical beside the other two;
Though he's not judged yet, he's the same as judged,
So do the facts abound and superabound:
And nothing hinders that we lift the case
Out of the shade into the shine, allow
Qualified persons to pronounce at last,
Nay, edge in an authoritative word
Between this rabble's-brabble of dolts and fools
Who make up reasonless unreasoning Rome.
"Now for the Trial!" they roar: "the Trial to test
"The truth, weigh husband and weigh wife alike
"I' the scales of law, make one scale kick the beam!"
Law's a machine from which, to please the mob,
Truth the divinity must needs descend
And clear things at the play's fifth act—aha!
Hammer into their noddles who was who
And what was what. I tell the simpletons
"Could law be competent to such a feat
"'T were done already: what begins next week
"Is end o' the Trial, last link of a chain
"Whereof the first was forged three years ago
"When law addressed herself to set wrong right,
"And proved so slow in taking the first step
"That ever some new grievance,—tort, retort,
"On one or the other side,—o'ertook i' the game,
"Retarded sentence, till this deed of death
"Is thrown in, as it were, last bale to boat
"Crammed to the edge with cargo—or passengers?
"'Trecentos inseris: ohe, jam satis est!
"'Huc appelle!'—passengers, the word must be."
Long since, the boat was loaded to my eyes.
To hear the rabble and brabble, you'd call the case
Fused and confused past human finding out.
One calls the square round, t' other the round square—
And pardonably in that first surprise
O' the blood that fell and splashed the diagram:
But now we've used our eyes to the violent hue
Can't we look through the crimson and trace lines?
It makes a man despair of history,
Eusebius and the established fact—fig's end!
Oh, give the fools their Trial, rattle away
With the leash of lawyers, two on either side—
One barks, one bites,—Masters Arcangeli
And Spreti,—that's the husband's ultimate hope
Against the Fisc and the other kind of Fisc,
Bound to do barking for the wife: bow—wow!
Why, Excellency, we and his Highness here
Would settle the matter as sufficiently

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poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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The Brus Book 18

[Edward Bruce marches toward Dundalk; he debates whether to fight]

Bot he that rest anoyit ay
And wald in travaill be alway,
A day forouth thar aryving
That war send till him fra the king,
5 He tuk his way southwart to far
Magre thaim all that with him war,
For he had nocht than in that land
Of all men I trow twa thousand,
Outane the kingis off Irchery
10 That in gret routis raid him by.
Towart Dundalk he tuk the way,
And quhen Richard of Clar hard say
That he come with sa few menye
All that he mycht assemblit he
15 Off all Irland off armyt men,
Sua that he had thar with him then
Off trappyt hors twenty thousand
But thai that war on fute gangand,
And held furth northward on his way.
20 And quhen Schyr Edward has hard say
That cummyn ner till him wes he
He send discouriouris him to se,
The Soullis and the Stewart war thai
And Schyr Philip the Mowbray,
25 And quhen thai sene had thar cummyng
Thai went agayne to tell tithing,
And said weill thai war mony men.
In hy Schyr Edward answerd then
And said that he suld fecht that day
30 Thoucht tribill and quatribill war thai.
Schyr Jhone Stewart said, 'Sekyrly
I reid nocht ye fecht on sic hy,
Men sayis my brother is cummand
With fyften thousand men ner-hand,
35 And war thai knyt with you ye mycht
The traistlyer abid to fycht.'
Schyr Edward lukyt all angrely
And till the Soullis said in hy,
'Quhat sayis thou?' 'Schyr,' he said, 'Perfay
40 As my falow has said I say.'
And than to Schyr Philip said he.
'Schyr,' said he, 'sa our Lord me se
Me think na foly for to bid
Your men that spedis thaim to rid,
45 For we ar few, our fayis ar fele,
God may rycht weill our werdis dele,
Bot it war wondre that our mycht
Suld our-cum sa fele in fycht.'

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poem by John Barbour
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Jeton KELMENDI – Biographie poésie

Traduit en français par Athanase Vantchev de Thracy Paris

Jeton KELMENDI – Biographie

Jeton Kelmendi est un auteur qui propose une poésie tri-dimensionnelle, couplant modernité et actualité, et qui la communique d’une manière à la fois originale et traditionnelle. Des critiques littéraires ont apprécié dans sa poésie un message au caractère claire, puissant et accompli.

Le langage de Kelmendi est personnel et s’offre naturellement au lecteur. Sa forme agréable et attractive tient significativement à ses concepts émouvants figuratifs en même temps que complexes. L’essence de sa poésie est une narration verticale et une sélection rigoureuse des sujets abordés, qui lui permettent des jeux d’espace et de temps.

Le poète albanais Jeton Kelmendi est né à Peja en 1978. Il a suivi sa scolarité, primaire et secondaire, dans sa ville natale, puis il a poursuivi des études supérieures à l’Université de Prishtina. Correspondant de plusieurs média albanais (en Albanie et au Kosovo) , il collabore avec encore d’autres au niveau international.

Kelmendi est un nom familier aux lecteurs kosovars de poésie, depuis 2000.
Il est également connu comme journaliste, spécialisé dans les domaines politique et culturel.

La poésie de Kelmendi a été traduite en plusieurs langues et figure dans de nombreuses anthologies. Membre de plusieurs associations internationales de poètes, il a été publié dans des revues culturelles, surtout en anglais.

Au centre de la pensée poétique de Kelmendi se trouvent la subtilité de l’expression et le soin accordé à la parole. Les thèmes dominants de ses écrits sont l’amour et les réalités crues de la situation politique, qu’imprègne souvent un sentiment de déception devant la conduite des affaires.

Il est un ancien combattant de l’UCK (Armée de Libération Kosovare) . Actuellement, membre de l’Association Européenne des Journalistes Professionnels, Kelmendi réside à Bruxelles.

Bibliographie
En albanais:
Le siècle de promesses - Shekulli i Premtimeve,1999 (poésie)
Au delà du silence - Përtej Heshtjes,2002 (poésie)
S’il est midi - Në qoftë mesditë,2004 (poésie)
Donnez-moi une patrie - Më fal pak Atdhe,2005 (poésie)
Où vont les avenirs - Ku shkojnë ardhjet,2007 (poésie)
Madame Parole - Zonja Fjalë 2007 (théâtre)

En roumain:

Si rares sont devenues les lettres - Ce mult s-au rãrit scrisorile 2007 (anthologie personnelle de poèmes)
Poesie

MADEMOISELLE PAROLE ET MONSIEUR PENSEE

1.

J’ai parlé d’une manière plutôt
Différente
Trop triomphante
Mademoiselle
J’espère que
Vous n’y voyez pas d’offense
Ce ne sont, après tout
Que des paroles d’un poète
Et vous savez qu’il est permis

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poem by Jeton Kelmendi Poét
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