DOCSLIB.ORG

Applicant's Guide to Licensing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Applicant's Guide to Licensing Applicant’s Guide to Licensing for Child Care Learning Centers Georgia Department of Early Care and Learning 2 Martin Luther King Jr. Drive, SE Suite 670, East Tower Atlanta, Georgia 30334 404-657-5562 www.decal.ga.gov Revised June 2021 Table of Contents Introduction ................................................................................................................... 5 Steps For Successful Application ................................................................................. 6 Application Definitions .................................................................................................. 8 License Application Part A ........................................................................................... 9 License Application Part A ......................................................................................... 10 Instructions for Completing License Application Part A .............................................. 14 Affidavit For Lawful Presence Verification .................................................................. 16 Frequently Asked Questions for Lawful Presence Verification ................................... 17 Formal Partnership Requirements ............................................................................. 19 Application Part A Checklist ....................................................................................... 20 Background Checks.................................................................................................... 21 Background Check Guidelines ................................................................................... 22 Physical Plant Requirements ..................................................................................... 23 Sample Floor Plan...................................................................................................... 24 Licensed Capacity Requirements .............................................................................. 25 Example ..................................................................................................................... 26 Window Space Requirements .................................................................................... 27 Staff:Child Ratios ....................................................................................................... 28 Mixed-Age Groups For Child Care Learning Centers................................................. 29 Diaper Changing Areas .............................................................................................. 30 Storage Space/Bathrooms ......................................................................................... 31 Kitchen/Laundry/Building Safety and Repair .............................................................. 32 Floor Plan Checklist ................................................................................................... 33 Site Requirements ....................................................................................................... 38 Sample Site Plan........................................................................................................ 39 Playground Area Rules .............................................................................................. 40 Playground Size ......................................................................................................... 41 Ground Covering ........................................................................................................ 42 Fencing ...................................................................................................................... 43 Play Equipment and Surfaces .................................................................................... 44 Fall Zones .................................................................................................................. 45 Resilient Surfacing ..................................................................................................... 46 Playground Maintenance Checklist ............................................................................ 47 Site Plan Records ...................................................................................................... 49 Site Plan Checklist ..................................................................................................... 50 Plans, Policies, Procedures & Checklists ................................................................. 52 Definitions .................................................................................................................. 53 Page - 2 Georgia Dept of Early Care and Learning Revised 5/2020 Guidelines for Creating Policies & Procedures .......................................................... 54 Personnel Policies...................................................................................................... 56 Employee Files .......................................................................................................... 57 Children’s Files .......................................................................................................... 58 Schedules .................................................................................................................. 59 Weekly Menu ............................................................................................................. 60 Emergency Plans ....................................................................................................... 61 Transportation ............................................................................................................ 62 Operation Plan Checklist ............................................................................................ 63 Forms ........................................................................................................................... 64 Forms & Checklists .................................................................................................... 65 Staff Forms ................................................................................................................ 66 Children’s Records ..................................................................................................... 68 Policies and Procedures Manuals .............................................................................. 72 Policies and Procedures Manuals Checklist .............................................................. 73 Staff Policies Handbook ............................................................................................. 75 Staff Policies Handbook Checklist.............................................................................. 76 Schedules, Lesson Plans, and Menus ....................................................................... 77 Schedules, Lesson Plans, and Menus Checklists ...................................................... 78 Emergency Plans ....................................................................................................... 79 Emergency Plans Checklist ....................................................................................... 80 License Application Part B ......................................................................................... 81 License Application Part B Checklist .......................................................................... 82 License Application Part B ......................................................................................... 83 License Fees .............................................................................................................. 86 Staff Profile Form ....................................................................................................... 87 Sample Forms ............................................................................................................. 88 Sample Forms Directory ............................................................................................. 89 Sample Staff Forms..................................................................................................... 90 Staff Application ......................................................................................................... 91 10-Year Employment History ..................................................................................... 92 10-Year Employment History ..................................................................................... 93 Documentation of Center Orientation ......................................................................... 94 Daily Staff Attendance Record ................................................................................... 95 Additional Staff Policies & Procedures ....................................................................... 96 Sample Children’s Record Forms .............................................................................. 97 Sample Children’s Enrollment Form ........................................................................... 98 Emergency Medical Authorization ............................................................................ 100 Parental Agreement with Child Care Facility ............................................................ 101 Page - 3 Georgia Dept of Early Care and Learning Revised 5/2020 Safe Sleep Practices Policy ..................................................................................... 102 Medication Authorization .........................................................................................
Load more

Recommended publications
  • The Dramatic World Harol I Pinter
    THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat­ terns that underlie them remain obscure. De­ spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur­ real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi­ ence at levels that are mysterious, and is a poetic rather than a problem-solving play­ wright. The poetic images of the play, more­ over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at­ tempted to understand the mysteries of life by drawing upon the most primitive of reli­ gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter­ point. His plays abound in those daily habit­ ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac­ ters to a painful awareness of life from which their daily routines have served to protect them.
    [Show full text]
  • Texas Register March 26, 2021 Issue
    Office of the Attorney General funds, using a competitive allocation method, to programs that address the unmet needs of victims by maintaining or increasing their access Notice of Modification to a Texas Water Code Settlement to quality services. The State of Texas gives notice of the following proposed modification Applicable Funding Source for OVAG: to a consent decree entered in an environmental enforcement action filed under the Texas Water Code. Before the State may enter into a The source of funding is through a biennial appropriation by the Texas voluntary agreement to modify a judgment, pursuant to section 7.110 Legislature. All funding is contingent upon an appropriation to the of the Texas Water Code, the State shall permit the public to comment OAG by the Texas Legislature. The OAG makes no commitment that in writing. The Attorney General will consider any written comments an Application, once submitted, or a grant, once funded, will receive and may withdraw or withhold consent to the proposed modification if subsequent funding. the comments disclose facts or considerations indicating that consent Eligibility Requirements: is inappropriate, improper, inadequate or inconsistent with the require- ments of the law. Eligible Applicants: Local units of government, non-profit agencies with 26 U.S.C. 501(c)(3) status and state agencies, including universi- Case Title: United States of America and the State of Texas v. San ties, are eligible to apply. Antonio Water System; Case No. 5:13-cv-00666, in the U.S. District Court for the Western District of Texas, San Antonio Division. Eligibility: The OAG will initially screen each application for eligibil- ity.
    [Show full text]
  • The Power of Repetition
    The Power of Repetition An Analysis of Repetition Patterns in The Hothouse and The Caretaker by Harold Pinter Mari Anne Kyllesdal A Thesis Presented to The Department of Literature, Area Studies and European Languages The University of Oslo In Partial Fulfillment of the Requirements for the MA Degree Spring Term 2012 II The Power of Repetition An Analysis of Repetition Patterns in The Hothouse and The Caretaker by Harold Pinter Mari Anne Kyllesdal III © Mari Anne Kyllesdal 2012 The Power of Repetition: An Analysis of Repetition Patterns in The Hothouse and The Caretaker by Harold Pinter. Mari Anne Kyllesdal http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract In most of Harold Pinter’s plays, underlying relations between characters are a central feature. Through the slight alteration and further development of naturalistic dialogue, and exploiting the features of The Theatre of the Absurd, Pinter perfected his project of turning dramatic dialogue into the equivalent of authentic language, and created for himself a mode of speech where the explicit text can ‘hint at’ an implicit subtext. One central feature of Pinter’s dramatic language is the use of repetition as a way of communicating psychological action within his characters. This thesis explores how Pinter uses repetition patterns in his dramatic dialogues in the two plays The Hothouse and The Caretaker. Attempting to reveal what is concealed underneath the surface of language, the thesis also discusses the concept of power- play which is exhibited within the examples chosen. Disclosing an inadequacy in using language is often felt by Pinter’s characters as a mark of inferiority, and repetition may occur as a means of correcting any perception of the individual as subordinate to others.
    [Show full text]
  • Harold Pinter's Ashes to Ashes*
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS Harold Pinter’s Ashes to Ashes* Marta Ramos Oliveira Dissertação realizada sob a orientação do Dr. Ubiratan Paiva de Oliveira Porto Alegre 1999 * Trabalho parcialmente financiado pelo Conselho Nacional do Desenvolvimento Científico e Tecnológico (CNPq). To my mother and those who came before and those who are still to come Because you don’t know where [the pen] had been. You don’t know how many other hands have held it, how many other hands have written with it, what other people have been doing with it. You know nothing of its history. You know nothing of its parents’ history. - DEVLIN TODESFUGE Schwarze Milch der Frühe wir trinken sie abends Wir trinken sie mittags und morgens wir trinken sie nachts Wir trinken und trinken Wir schaufeln ein Grab in den Lüften da liegt man nicht eng Ein Mann wohnt im Haus der spielt mit den Schlangen der schreibt Der schreibt wenn es dunkelt nach Deutschland dein goldenes Haar Margarete Er schreibt es und tritt vor das Haus und es blitzen die Sterne er pfeift seine Rüden herbei Er pfeift seine Juden hervor läßt schaufeln ein Grab in der Erde Er befiehlt uns spielt auf nun zum Tanz Schwarze Milch der Frühe wir trinken dich nachts Wir trinken sie morgens und mittags und wir trinken dich abends Wir trinken und trinken Ein Mann wohnt im Haus der spielt mit den Schlangen der schreibt Der schreibt wenn es dunkelt nach Deutschland dein goldenes Haar Margarete Dein aschenes Haar Sulamith wir schaufeln ein Grab in
    [Show full text]
  • Pre-Literary Techniques in the Plays of Harold Pinter Punch and Pinter
    PUNCH AND PINTER PRE-LITERARY TECHNIQUES IN THE PLAYS OF HAROLD PINTER PUNCH AND PINTER PRE-LITERARY TECHNIQUES IN THE PLAYS OF HAROLD PINTER By ALVIN WASSERMAN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1975 MASTER OF ARTS (1975) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Punch and Pinter: Pre-literary techniques in the plays of Harold Pinter AUTHOR: Alvin Wasserman, B.A. (Sir George Williams University) SUPERVISOR: Professor G. Purnell NUMBER OF PAGES: iv, 98 SCOPE AND CONTENTS: This thesis examines the plays of Harold Pinter through his use o~)basic pre-literary theatrical techniques. The techniques are specifically outlined in terms of such pre-literary theatricals as Punch and Judy puppet shows and vaudeville variety acts. The thesis contends that Harold Pinter's drama is directly based on standard theatrical elements, and can be understood more precisely according to them than in accordance with literary modes or terms such as allegory~ imagery, metaphor or symbolism. ii ACKNOWLEDGEMENTS I am deeply grateful for the assistance and direction given to me by Professor Purnell. iii TAB LEO F CON TEN T S CHAPTER I INTRODUCTION The conventions of pre-literary theatricals 1 CHAPTER II THE RELATION OF THE "ABSURD" PLAYW~IGHTS AND HAROLD PINTER IN PARTICULAR TO THE CONVENTIONS OF PRE-LITERARY THEATRICALS 16 CHAPTER III A COMPARISION BETWEEN PRE-LITERARY TECHNIQUES AND THOSE USED BY PINTER 23 CHAPTER IV CONCLUSION 81 BIBLIOGRAPHY 94 iv CHAPTER I Contemporary playwrights are continually experimenting in an attempt to expand the scope and broaden the perspectives of theatre.
    [Show full text]
  • 2017 Homecoming Court
    2017 Homecoming Court Our Week. Our Homecoming. Our USF. Bulls Unite Rules & Regulations All homecoming court applications must be completed by Thursday, September 20, 2017 at 11:59 pm. Homecoming court applications will be submitted online. Click here to access the application. Late registrations will not be accepted! Page 2 of 6 Dear Prospective Homecoming Court Member, Congratulations on taking the first step toward becoming a member of the Homecoming Royal Court for the 2017 USF Homecoming celebration! We are thrilled you have chosen to apply for this position of prestige showcasing the best and brightest of the University of South Florida’s student body. In the following pages, you will find all the information, documents, and an outline of the process necessary to become a member of this elite group of students. We hope this process will be a positive experience for you and are excited to be a part of this journey with you. Should you have any questions, comments or concerns, please do not hesitate to contact me at alexandrasim@usf.edu or stop by the Center for Student Involvement on the second floor of the Marshall Student Center, Suite 2306. Thank you for your interest and cooperation in this process and for being a part of a wonderful USF tradition! In Bull Pride, Alexandra Simmons Alexandra Simmons Campus Traditions Board Programming Director Center for Student Involvement Office: MSC 2306 University of South Florida | 4202 E Fowler Ave MSC 4100 Tampa FL 33620-2246 813.974.1001 office | 813.974.5466 fax | alexandrasim@usf.edu
    [Show full text]
  • A Study Op Dramatic Structure in Harold Pinter's Stage Plays
    A STUDY OP DRAMATIC STRUCTURE IN HAROLD PINTER'S STAGE PLAYS by CHRISTINE PATRICIA PARKIN born CHRISTINE PATRICIA GEORGE B.A. , University of Bristol, 1955 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the reauired standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A The University of British Columbia Vancouver 8, Canada Date ABSTRACT Pinter has said that his main concern when writing a play is with structure, yet published criticism has so far paid little attention to this aspect of his craft. This study, therefore, examines the structures of Pinter's stage plays. The method followed is a chronological structural analysis moving from The Room through The Birthday Party, The Dumb Waiter, The Caretaker, The Homecoming, Landscape and Silence to his latest play, Old Times, first produced in London on June 1, 1971- The opening chapter discusses the terms which form a background to the subsequent description of the dramatic structures. The analyses demonstrate that there are at least three major features of his craftsmanship to emerge at this point in his career.
    [Show full text]
  • The Development of Harold Pinter's Political Drama
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the pennission of the Author. FROM MENACE TO TORTURE: THE DEVELOPMENT OF HAROLD PINTER'S POLITICAL DRAMA A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University Betty s. Livingston 1993 ii ABSTRACT There is a degree of continuity between Pinter's "comedies of menace" and his overtly political plays. The chief difference between the two types of plays is one of focus: in the "comedies of menace" Pinter emphasises social pressures exerted on the nonconforming indi victual, whereas in the overtly political plays he focusses explicitly on State oppression of the dissident. Pinter's passionate concern with politics has adversely affected his art, though there are signs of a return to form in his latest play, Party Time. iii ACKNOWLEDGEMENT I am extremely grateful to Professor Dick Corballis for his generous and invaluable guidance and assistance. CONTENTS Page Acknowledgement iii CHAPTER ONE: Introduction 1 CHAPTER TWO: Society versus the nonconforming 5 individual: the "comedies of menace" CHAPTER THREE: The State versus the dissident 48 individual: the overtly political plays CHAPTER FOUR: The effect of Pinter's political 82 commitment on his art NOTES 89 BIBLIOGRAPHY 97 CHAPTER ONE INTRODUCTION Pinter's seemingly abrupt switch to explicitly political drama in One for the Road took many of his critics by surprise.
    [Show full text]
  • Download Download
    S K E N È Journal of Theatre and Drama Studies 1:2 2015 Short Forms SKENÈ Journal of Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi, Alessandro Serpieri. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editor Lisanna Calvi. Copyeditors Marco Duranti, Flavia Palma, Carlo Vareschi, Tobia Zanon. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Marco De Marinis, Tobias Döring, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Russ McDonald, Luigina Mortari, Guido Paduano, Franco Perrelli, Didier Plassard. Copyright © 2015 SKENÈ All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it info@skenejournal.it Contents NICOLA PASQUALICCHIO Introduction 3 JAVIER CUESTA GUADAÑO Forms of Short Modernist-Symbolist Theatre in Spain 27 DIDIER PLASSARD Edward Gordon Craig and the “smallest drama in the world” 51 ELISA MARTINI Just Two Cues: Achille Campanile’s Upside-Down Tragedy 65 LAURA PEJA Shorter and Shorter: Samuel Beckett’s Challenge to the Theatre 81 MARK TAYLOR-BATTY Harold Pinter’s Early Revue Sketches 101 CARLO VARESCHI “… worth using twice”? Making a Short Story Long. Tom Stoppard’s Two Early One-Acters 117 ALEXANDRE KOUTCHEVSKY Repetition as Zoom Effect. A Mechanism of Short Writing Played at the Level of Words 139 SIMONA BRUNETTI Ten Years of Short Theatre. Rome and Its ‘Short’ Festival 165 MARK TAYLOR-BATTY* Harold Pinter’s Early Revue Sketches Abstract Considering Pinter’s early revue sketches as integral elements of his early writing project, this article puts them in partial dialogue with the longer dramatic works from his pen in the same period.
    [Show full text]
  • Biography Playwright Harold Pinter Was Born in Hackney, London, on 10 October 1930
    Biography Playwright Harold Pinter was born in Hackney, London, on 10 October 1930. He was educated at Hackney Downs Grammar School and trained at the Royal Academy of Dramatic Art and Central School of Speech and Drama. Harold Pinter was married to the writer Lady Antonia Fraser and lived in London. Harold Pinter’s plays include The Room (1957), The Birthday Party (1958), The Dumb Waiter (1959), The Caretaker (1960), The Lover (1962), The Homecoming (1965), No Man's Land (1975), Mountain Language (1988), Moonlight (1993), Ashes to Ashes (1996) and Celebration (2000), first performed with The Room at the Almeida Theatre in London. His adaptation of Marcel Proust's novel Remembrance of Things Past was performed at the National Theatre in London in 2000. He directed many productions of his own plays as well as plays by other writers, including James Joyce, Noel Coward, Tennessee Williams, David Mamet and Simon Gray, and acted on stage, film, television and radio. Pinter adapted many of his stage plays for radio and television and he wrote the screenplays to a number of films including The Servant (1963), The Quiller Memorandum (1965), The Go-Between (1970), The Last Tycoon (1974) and The Comfort of Strangers (1989), adapted from Ian McEwan's novel. He also wrote War (2003), a collection of eight poems and one speech inspired by the subject of conflict. Pinter was awarded a CBE (Commander of the Order of the British Empire) in 1966, the German Shakespeare Prize in 1970, the Austrian State Prize for European Literature in 1973, and the David Cohen British Literature Prize in 1995, and he held honorary degrees from the Universities of Reading, Glasgow, East Anglia and Bristol, among others.
    [Show full text]