Byju's Magic Workbooks are an innovative learning tool designed to make education engaging, interactive, and effective. These workbooks are a step beyond traditional textbooks, incorporating the latest technology and interactive features to enhance the learning experience for students. The Magic Workbooks use a combination of animated videos, interactive exercises, and real-time feedback to help students grasp difficult concepts. The interactive videos explain complex topics in a simple and engaging manner, making it easier for students to understand and retain the information. One of the unique features of the Magic Workbooks is the in-built assessments and quizzes. After each concept, students can solve practice problems and quizzes to test their understanding.
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Another type of movie might have wanted to show the guys doing the unthinkable putting on weight, a bit of a gut, maybe even being humiliatingly laughed at by the ladies. This control enabled women to inform men of their own mortality, but where women were not as disturbed by death because they were able to give birth, men experienced a crisis that seems to go unresolved to this day.
After each concept, students can solve practice problems and quizzes to test their understanding. The Magic Workbooks provide immediate feedback, helping students identify their mistakes and learn from them. Another advantage of the Magic Workbooks is the personalized learning experience they offer.
Manhood – from the inside out – part 29 – Fear of Death
Book Two addresses my wayward journey to manhood as I tried to negotiate a path to manhood prescribed by men who had no power except for the power they thought they had over women. As a boy who had wanted to be a girl, my young manhood was difficult, full of misguided attempts at trying to balance power with sentimentality, self-hate with seeking love from a woman, and a desire to die a hero.
In the 1987 classic movie, Moonstruck, Rose Castorini (Olympia Dukakis) suspects her husband is having an affair. Instead of being angry, she is perplexed. At one point, she asks Johnny Cammerari (Danny Aiello) why a man would need more than one woman.
“I don’t know. Maybe because he fears death?” Johnny replies.
“That’s it. That’s the reason. Thank you for answering my question!” Rose declares as if she had known the answer all along.
According to Leonard Shlain in his book Sex, Time, and Power: How Women’s Sexuality Shaped Human Evolution, women were the first humans to become aware of time, and through the understanding of time, they were the first to become aware of death. He hypothesizes that big-brained homosapiens and the narrow female pelvis created a crisis that altered women’s hormonal cycles, which tended to synchronize with the moon cycle prior to the introduction of artificial lighting at night. These cycles created an awareness of time and the changes that occur through time, thus an awareness of aging and human mortality.
Women, imbued with this knowledge, understood their sexuality and sought to control it through the selection of mates who would assure survival of the group, the tribe, the species. This control enabled women to inform men of their own mortality, but where women were not as disturbed by death because they were able to give birth, men experienced a crisis that seems to go unresolved to this day.
Shlain speculated that the emergence of human representational art between 40 to 50 thousand years ago is a symptom of the crisis of mortality, an attempt to create something lasting, a culture passed down from generation to generation. Perhaps the first female-centered religions developed during these times, ushering in an era that lasted tens of thousands of years. These religions expressed awe at the life-giving female body and, in turn, embraced feminine deities.
According to archeologist Marija Gimbutus, Europe, North Africa, and the Middle East had been dominated by goddess religions before the onset of patriarchal cultures beginning 12 thousand years ago. She cites as evidence the proliferation of female sculptures found all over these regions, a pristine example of which is known as the Venus of Willendorf, a figurine estimated to be 25 thousand years old.
Paula Sophia (provided)
Curiously, the emergence of patriarchal cultures began at about the same time as the discovery of agriculture, perhaps an awareness drawn from the resemblance of the female vulva to plowed earth. Men realized the need for a seed and became aware of their own contribution to human reproduction. At this point, they sought ways to control female sexuality, creating systems that valued virginity, marriage, and male lineage. Men had found a way to tap into immortality by ensuring their “seeds” that produced heirs.
Unfortunately, these systems could be disrupted through the taking of women by force and rape. A common attribute of warfare has been the rape of women and girls as a way to add injury to the insult of defeating male adversaries in battle, a method of deliberate erasure, and a demonstration of power. Lineal erasure has been portrayed in contemporary cinema in the film Braveheart (1995) when William Wallace (Mel Gibson) has a love affair with Princess Isabella, the wife of Crown Prince Edward, the son of King Edward I (Longshanks) and successor to the throne. Princess Isabella becomes pregnant, and when Longshanks is dying and unable to speak, she whispers in his ear that his line will die with him, that his son is weak and will be deposed, and that she is carrying the child of William Wallace.
Historically, there is no evidence that Princess Isabella ever met William Wallace. In fact, she never met Longshanks before he died. So, why portray lineal erasure at all, unless Mel Gibson was tapping into a fear that men still experience, a fear of death to be sure, but also a fear of irrelevance through the failure to establish a lineage. To establish a lineage in a patriarchal society, men must rely upon women to be procreative, loyal, and sexually pure. Women who fall outside of this framework are considered fallen, unclean, and unsuitable as wives. They are labeled sluts and subject to derision, abuse, and extermination.
At the hinge point of history when matriarchal cultures fell to patriarchal cultures, mythologies often portray women as harbingers of death. Of course, there is the Garden of Eden in Genesis when Eve eats fruit from the Tree of the Knowledge of Good and Evil and invites Adam to eat also. She gives Adam a taste of death. In other stories, Lilith, the first wife of Adam who had been co-created with him, is too independent and does not obey him. She finds herself banished from the Garden of Eden, to roam the earth, becoming a demon responsible for sucking the blood of unborn children, causing miscarriages and stillbirths.
In other traditions, the love of a goddess brings death to the mortal men they desire. In the Epic of Gilgamesh, the goddess Ishtar falls in love with Gilgamesh, but he rejects her, prompting her to send the Bull of Heaven to slay Gilgamesh and his wild twin Enkidu. The Bull of Heaven mortally wounds Enkidu, and upon his death, Gilgamesh experiences an existential crisis, embarking on a quest for immortality. Of course, he fails.
These portrayals upend the life-affirming qualities of women in matriarchal cultures, placing the life qualities into the realm of men who cast themselves as husbands, heroes, and kings, progenerators and protectors of human life and community. Thus ascribed with power, they lord it over women, demanding their virtue even as they gratify themselves with sexual pleasure. They regard women with suspicion and fear, quick to accuse them of seduction and black magic.
Ernest Becker wrote The Denial of Death (1973), which won the Pulitzer Prize in 1974. In it he argues, “the basic motivation for human behavior is our biological need to control our basic anxiety, to deny the terror of death.” The book is very male-centric in its approach, using examples of men who try to establish immortality through acts of heroism, lineal legacies, or through some kind of lasting work, that creates meaning beyond a lifetime.
Arguably, men who do not have the means, education, or talent to create a work of art, literature, or music might try to establish their names through acts of heroism in war, athletic competition, economic success, or through humanitarian intervention – sometimes achieving immortal legacies through martyrdom or self-sacrifice. If they lack courage, they may be driven to sexual aggression, gaining notoriety through the conquest and control of women.
As might be evident in our current age, we are sorely lacking in heroes, and many whom we have designated heroes have proven fallible, weak, and even predatory. It seems too many men chose dark exploits to make their claims for immortal status. Not least among them, mass shooters, some of whom found motivation for their murderous rampages because women had rejected them. Still others express fear of a “feminizing society” that is systematically diminishing and devaluing male power. They want to reestablish manly dominance, reasserting themselves as warriors and kings if nowhere else but in their own homes.
My father was not an artist, musician, or writer. Though he served in the Navy, he did not emerge from military service as an acknowledged hero. He was not an athlete, an economic success, nor a humanitarian. He was, however, a man filled with deep resentment toward women, seeing them as vessels for his own gratitude, and he saw me as lacking in sexual prowess, expressing concern for my lack of aggression, my lack of interest in pursuing women as sexual objects. He devised many lectures and tests about how I should approach women, how I should seek opportunities for sexual gratification with women, and how I should be a man by dominating women.
My father never acknowledged a fear of death, but he did express fear about losing vitality, boasting about how long he could sustain an erection, and he was quick to criticize other men who did not express dominance over women or who seemed to have other preoccupations besides sexual gratification.
After I finally established my ability to engage in violence in Donut’s backyard that day in 1976, my father engaged me in a campaign to eradicate my queerness and to establish me as a sexually dominant man. As I matured, I noticed the pressure from other boys and men to be sexually aggressive and who tried to gauge my sexuality through various litmus tests. I am not sure my experience of adolescence and young manhood was universal, but I do expect it is common, even in our “Me Too” era.
Here are previous segments:
According to Leonard Shlain in his book Sex, Time, and Power: How Women’s Sexuality Shaped Human Evolution, women were the first humans to become aware of time, and through the understanding of time, they were the first to become aware of death. He hypothesizes that big-brained homosapiens and the narrow female pelvis created a crisis that altered women’s hormonal cycles, which tended to synchronize with the moon cycle prior to the introduction of artificial lighting at night. These cycles created an awareness of time and the changes that occur through time, thus an awareness of aging and human mortality.
The workbooks adapt to the individual learning pace and style of each student, providing customized recommendations and practice exercises based on their strengths and weaknesses. This personalized approach ensures that each student gets the most out of their learning experience. The Magic Workbooks cover a wide range of subjects, including mathematics, science, and English. They are designed for students of different grade levels, from primary school to high school. The workbooks align with the curriculum of various educational boards, making them an ideal supplementary resource for students. In addition to the interactive features and personalized learning experience, the Magic Workbooks also offer the convenience of accessibility. Students can access the workbooks on their computers, tablets, or smartphones, allowing them to learn anytime and anywhere. Byju's Magic Workbooks have gained popularity among students, parents, and teachers for their effectiveness in improving learning outcomes. These workbooks provide a fun and engaging way for students to learn and understand complex concepts. With their interactive features and personalized approach, the Magic Workbooks have revolutionized the way students learn and comprehend various subjects..
Reviews for "Personalized Learning at Scale: Byju's Magic Workbooks for All Ages"
1. Sarah - ★☆☆☆☆
I was really disappointed with the Byju magic workbooks. The content was not engaging or interactive at all. It felt like a digital textbook with some colorful illustrations. There were no interactive exercises or fun games to keep my child interested. I also found the explanations to be lacking depth and clarity, making it difficult for my child to understand the concepts. Overall, I wouldn't recommend these workbooks for any student looking for a more interactive and engaging learning experience.
2. Michael - ★★☆☆☆
I purchased the Byju magic workbooks for my child, hoping it would provide a comprehensive learning experience. However, I found the content to be quite repetitive and not challenging enough for my child's abilities. The explanations were too basic and didn't provide enough depth for a thorough understanding. Additionally, the workbooks lacked diversity in topics and failed to cover some important areas of the curriculum. I would have liked to see more variety and a higher level of engagement to keep my child interested in using these workbooks.
3. Emily - ★★☆☆☆
I was really excited to try the Byju magic workbooks as I had heard positive reviews from other parents. However, I found them to be quite overwhelming for my child. The lessons were presented in long paragraphs with little breaks or visuals to help break up the text. This made it difficult for my child to stay focused and retain the information. I also found some of the instructions to be unclear and confusing, leading to frustration and a lack of interest in completing the workbooks. Overall, I was disappointed with the format and structure of these workbooks.