Analysis Of The Movie Titanic - 2043 Words

Courtney Thorpe Hour 5 First and Last Journey of The â€Å"Unsinkable Ship† The movie â€Å"Titanic† is what comes to mind when hearing about one of the most shocking and known disasters of U.S. history. The movie shows the gist of how the RMS Titanic went down, but do people really know, behind the scenes, what caused the Titanic to sink along with the short and long term effects, and the influence it had on the United States? Most people would conclude that no, they don’t know the influence the Titanic had, what went into building the Titanic, how it devastatingly sunk, and the lasting effects it had on luxury travel and the way ships are built today. As well with the multiple factors that went into how the supposedly â€Å"unsinkable ship†, well†¦ sunk. Before the RMS Titanic was set to sail its maiden voyage in April of 1912, many things contributed into the preparation and building of the ship. It was the second out of three huge, luxurious ships built by the White Star Line in the early 1900s. The ship was built by Harland and Wolff Heavy Industries in Belfast, North Ireland (Bassett). Out of the company’s 15,000 workers, it took around three thousand to build it in a time period of three years. Working on or in the ship was a very difficult and dangerous job as many would assume. According to the Harland and Wolff Industry research, records show injuries to nearly 250 workers, with two workers dying in construction accidents in the shipyard and six more dying on board duringShow MoreRelatedAnalysis Of The Movie Titanic Essay1074 Words   |  5 Pages Kenneth Burke developed Pentadic analysis, it combines five elements and each which related to a question. The movie Titanic is directed by James Cameron and it was releas e in 1997. This film talks about the love story about the two characters of different social classes and fall in love. And the unsinkable ship was filled on the ocean. Titanic’s first voyage is also its last voyage out to sea. Show humanity and love will never change until death in the face of disaster. 84 years later, BrockRead MoreMovie Analysis : Titanic Movie Titanic 1455 Words   |  6 PagesOscar nominated movie â€Å"Titanic†, a love story about a young man and woman. Their love is shown throughout the depths of this movie through dialogue, camera angles, by the use of music, and how you can distinguish the character development in Rose. To begin, â€Å"Titanic† is a movie about the emerging yet proscribed love of young Rose DeWitt Bukater, played by Kate Winslet, who is of the upper class, and young Jack Dawson, played by Leonardo DiCaprio, who is a poor yet witty artist. The movie starts off withRead MoreMovie Analysis : Titanic 1273 Words   |  6 PagesTitanic Titanic portrayed sexuality with attraction between a man and a woman. Rose was a beautiful woman whom her fiancà ©e Hockley was the son of a rich and powerful steel mill owner. However, the sexual interest here was actually in the form of business. Rose was marrying him because of the money Hockley would inherit when his father died, a very prominent practice during that time. Men with power and money were shown to be desirable from all of Rose s companions on the ship. This common themeRead MoreMovie Analysis : Titanic And The Band Played On 904 Words   |  4 PagesBefore I watch the movie, I presumed the title, â€Å"And the Band Played On,† to be a reference to the movie â€Å"Titanic,† which they were speaking about the string quartet that continued to play as the ship sank. Since watching the movie I think it referenced â€Å"business as usual.† Just like in Titanic, no one was concerned about the ship sinking until it was too late. In the movie â₠¬Å"And the Band Played On,† In the same way, AIDS was considered, just a gay disease, and wasn t seen as the epidemic with inRead MoreEssay Movie Analysis of Titanic Directed by James Cameron904 Words   |  4 PagesMovie Analysis of Titanic Directed by James Cameron The movie Titanic, directed by James Cameron, was a fictional story based on the true ship, Titanic. Camerons movie was based on a love story; however, the focus of this paper will be on some of the differences between the two classes aboard the Titanic. This movie clearly portrayed how differently the first and second-class people were treated during the time of the Titanic. This can be related to many other times in American history whenRead MoreTitanic Essay848 Words   |  4 PagesIn the movie Titanic, the story line revolves around two love interest, Jack and Rose. The two fall in love despite being from different economic backgrounds and they fight the oppositions from their families. Regardless of being one of the highest grossing movies of all time, the movie does not incorporate many details as to why the Titanic sank. The only source the movie gives for the Titanic’s sinking is the damage the iceberg caused. Through time Scientist have proven that an Iceberg was jus tRead MoreAnalyzing Titanic1603 Words   |  7 Pagesï » ¿Analyzing Titanic Social stratification is defined as a system by which a society ranks categories of people in a hierarchy, is based on four important principles. The four principles are trait, generation to generation which extends to â€Å"social mobility†, universal but variable and not just inequality but beliefs.† (Marconis, page 209, para. 1) In this paper I will analyze the movie Titanic and will show and bring out those principles of social stratification and how even though it was set inRead MoreThe Love Connection Of James Cameron s Titanic1374 Words   |  6 PagesThe Love Connection in James Cameron’s Titanic: I’m Flying Titanic is a 1997 American romance film that was directed, written and co-produced by James Cameron based on the notorious sinking of the RMS Titanic in the early morning of April 15, 1912 in the North Atlantic Ocean. The sinking occurred when the ship came in contact with an iceberg during the voyage from Southampton to New York City. Throughout the film, there are twoRead MoreMarxist Theories And The Marxist Theory1243 Words   |  5 Pagesit is important to give a brief description of the main tenets and principles of Marxism. Specifically, the Marxist paradigm assumes that economic competition is the principle cause of conflict. Unlike other paradigms, Marxism’s method of societal analysis focuses on economic and material aspects. Focusing on class relations and societal conflicts, the theory was first proposed by Karl Marx. Upon witnessing the industrial revolution and the creation of an urban working class, Marx observed and experiencedRead MoreWhat Is Cinema? The World s Most Complex, Collaborative, And Costly Essay1148 Words   |  5 PagesWhat is Cinema? A cinema or a movie, or you may say it as a motion picture, which includes the art of moving images through a visual medium that tells stories and exposes or expresses reality. Cinema is the world’s most recent art form that was created in the 19th century. It is the world’s most complex, collaborative, and costly artistic expression. Initially, the first two versions of the film camera used were the kineto-graph and its European counterpart, the cinematograph to record daily events

A Critical Review of Andrea Owens’ “The Mortgage Bailout that Worked.” Free Essays

While the Harvard Business Review (HBR) has yet to publish anything specifically on the Obama Mortgage Stimulus Plan as of yet, this recent blog entry might give an idea as to what the HBR’s point of view might be. This is a very interesting piece, as it is a historical lesson on mortgage bailout plans and how they might work. In the 1920s, real estate, like in the 1990s, was considered a very safe investment. We will write a custom essay sample on A Critical Review of Andrea Owens’ â€Å"The Mortgage Bailout that Worked.† or any similar topic only for you Order Now In New York just prior to the great crash, several dozen real estate guaranty companies sprang up, offering what amounted to â€Å"mutual funds† for investing in mortgages. These funds were guaranteed by the insurance division of the state of New York. Needless to say, with a few years, these investments sprang out of control. In fact, the companies themselves began to invest in their own guaranty schemes. They charged a fee of roughly 1% of the annual interest on the paper (not the real value). As soon as a slowdown hit, the guaranty firms put their marketing schemes into a higher gear, selling more and more of them, even waving their fee for a time. When the collapse came by 1932, the marketing went even higher, and more mortgages were sold at more and more advantageous rates. Some were noticing that these guaranty firms were â€Å"on the hook† for some very questionable loans. They sold discounted mortgages to attempt to pay off already inflated mortgage values. It was a scam based on a lie. In 1932, the firms held the tremendous sum of about $2. 7 billion in paper, that itself represented about $809 million in actual value. The final collapse came in the Spring of 1935, and finally, the state stepped in. The measures the state took is really the lesson here. First, the state of New York passed two laws. The first was the Mortgage Moratorium Act. This basically stated that the homeowner cannot lose his home through foreclosure so long as the taxes and interest were paid. Second, the state created an institution called the mortgage Commission whose job it was to take over the mortgages and seek to reclaim their value. The point of this latter institution was to maintain real estate values as close to the numbers on the paper as possible. It is here where the state met with some success. This commission hired a large number of researchers and investigators to track down each and every property that was represented (distortions and all) on the now worthless paper. Each property, once identified and appraised, was to be disposed of either through sale or rental. Those properties with unfinished improvements were kept afloat until the improvements were finished. The state assisted in any improvements at all on the properties that may maintain their value. But what is impressive is that, at least according to the HBR, by 1935-1936, the state had reclaimed about 84% of the paper value of these properties, which is quite impressive given the nature of the scam. Now, that being said, what are the issues that derive from this relative to Obama and the mortgage stimulus/bailout? There are two: first, that those who are involved in the bailout/stimulus need to, like the state of New York many moons ago, keep track of all the properties that are recorded on the paper. And second, that the bailout/stimulus money be used to maintain property values to the greatest extent possible given the available liquidity. What the authors of such articles always forget is that there are real people under all this paper. People who have been taken advantage of for the profit of a few. Here, criminal acts have been perpetrated for the sake of quick profits: as a matter of course, it is the homeowner, rather than the schemers, that is punished. Hence, the remainder of this paper will deal with several issues that derive from the stimulus and the historical take on it from our chosen author. 1. Regardless of the nature of the stimulus, all foreclosures must be stopped immediately. It is not the fault fo the homeowner that they have been taken advantage of. Like the New York situation, no foreclosures should proceed even if the taxes cannot be paid. This is a form of reimbursement for the homeowner of the encouragement of such speculation under the fraudulent banner of â€Å"the free market,† which is neither free nor a market: it is the state’s guarantee of personal privilege. 2. All real estate taxes should be suspended for a single year. This will act as a negative stimulus for homeowners. That is, families that own their own homes should be free of real estate taxes for a single year. Like the New York case in the 1930s, the fact is that the regulators and the state was asleep at the switch while all of this was going on. The state, largely captive by the major speculators, refused to take action. Hence, the state that acted as a facilitator to these schemers/speculators. As a result, the state does not deserve the reward of smooth tax collection. If there is to be a moratorium on foreclosures, then there also needs to be a cancellation of taxes on real estate for families who own homes, as well as a cancellation of any back taxes on property, etc. 3. If the bailout is to proceed, then in addition to the above, the checks (which represent their own money anyway) should be made out to the homeowner, and not to the schemers or â€Å"guaranty firms. † 4. While it might sound extreme, the schemers and their hangers on should be sentenced to work camps for their role in the scam. If these people view money as the result of scam, then they need to be taught that the origin of value is work, that is, labor. Labor, not fancy financial footwork, is the source of wealth. The middlemen and speculators merely shift it around. If the value of the paper in their hands does not match the actual value of the real estate, that missing value did not disappear, it merely changed hands. The above ideas in terms of the bailout/stimulus itself, therefore, should be involved in recouping that value and transferring it to the taxpayer and homeowner. The fact remains that the middle class homeowner does not have an interest group or lobby that protects them. The schemers do, and the poor do, but the middle class taxpayer does not. 5. If the stimulus is to continue, then it seems reasonable to hold tha a certain percentage of the money should go to bringing the poor into the ranks f the middle class by subsidizing their entry into home ownership and financial stability. By the same toke, the state of indebtedness of the middle class should also be alleviated with this same money. In such a case, it will be a bailout in the truest sense of the word: not a bailout fo the financial system, but of individual poor and middle class taxpayers whose surplus value has been shipped to overseas tax havens and â€Å"foundations. † The reality here is that this crisis is systemic, not aberrational. The HBR’s primary sin is that they insist that this scam is not built into the system, but the result of a handful of criminal minds. In this they are wrong. The system has this kind of scam built into its very concept of value. The issues that can â€Å"unpack† this statement can be summarized this way: 1. The question of value: the manipulation of the value of labor is separated from the actual act of labor and work. In other words, the value of labor is taken by the schemers and manipulated for their own profit. But the fact is that that value is not theirs, but the labor that has created it in the first place: this includes the actual physical labor of building a house, but also the intellectual labor that provides the plans, the geography, the blueprints, etc. The surplus value of their work is taken by the likes of Madoff, and then gambled against other similar feats of labor. The fact is that this surplus value belongs to no one but the labor that created it. Hence, the scam is built into the system, and not aberrational. 2. Hence, if taxes and foreclosures are all eliminated by state fiat (for a certain amount of time) it is merely a matter of financial reparation, not some sort of a gift, or a kind of state benevolence. This money and the labor it represents belongs to the middle class. Hence it is their own money that is being returned to them. 3. The stress in financial circles is not creation. The entire point of labor is to create things out of their natural state that makes life easier for humanity. While this seems elementary, the Wall Street mentality has no concept of it. Speculation itself is a kind of mystification in that speculation is a matter of gambling paper (in fact, representing labor on the ground) against other pieces of paper representing the same thing. When the value of this paper is inflated due to skillful gambling, who is to pay? The very same people who created the real (i. e. non paper) value in the first place. Therefore, the question of the bailout stimulus is misplaced, unless it aims not at the mortgage industry or finance in general, but the middle class whose chronic state of indebtedness is being exacerbated by more and more taxes. While it remains the cases that the system itself is responsible for the crisis, the middle class, always n the lookout for a good deal, made certain they were easy targets for the scam. But this is not the fault of this class–the very backbone of home-ownership. Hence, the schemers need to be punished, and the scammed bailed out, not the other way around. Value must be rejoined to the actual function of labor, rather than the fictional value of paper. How to cite A Critical Review of Andrea Owens’ â€Å"The Mortgage Bailout that Worked.†, Papers

Media Violence and Cartoons Essay Example For Students

Media Violence and Cartoons Essay With the recent increase in violent crimes committed by children, adults have been looking for answers to what causes children to commit these acts. Researchers have performed formal studies, and other approaches have been taken to answer the question. Their ideas and perceptions have strayed far and wide, looking for a suitable answer; one such answer of the many they have uncovered is television, but especially television geared towards children: cartoons and animation. In recent years, animation has taken a more openly violent twist during the same time period that the unique and varied forms of Japanese animation have come to America; both have raised many parents eyebrows as articles and media coverage portray both, but especially Japanese animation, in a harsh and unfair light, depicting all series and movies as violent and only fit for mature audiences. The adults perception of animation varies greatly from the childrens perception, as many factors, such as media depictions, p ersonal opinions, and even the standards of cultures, come into play on the decision of what is suitable for younger viewers. While it is not the first medium ever to reproduce violence for entertainment, television has certainly been the most notorious. However, television stations ;do not air violence because they want to. They air it because that is what sells. The blame is upon ourselves for the large volume of violence, since they are merely responding to what we want; (Kim). This love for violence has filtered into nearly every television show aired currently. Virtually every television station airs shows, either live action or animated, that involve the characters fighting, arguing, or just acting in a malevolent way towards something or somebody else. The news always carries stories of what crimes have been committed during the day, daytime talk shows and soap operas often involve fighting and conflict, and even childrens television is starting to take a more serious, mature twist in its presentations. Shows such as the live action series Mighty Morphin Power Rangers have been called into question because of the numerous fight scenes and injuries that they depict; however, Power Rangers is one show that does provide a message to children at the end, informing them that the fighting is not real and that they should not imitate the Power Rangers. Despite this warning, children do imitate their heroes, hoping to emulate them and be able to stand as strong and powerful as they do. Parents see the television as a babysitter of sorts and let their children sit in front of it, absorbing everything they see mindlessly, while the parents do chores or work they must complete that involves not having their children distract them. This is when children receive the full force of the violence in television; studies conducted have shown that children either imitate their heroes or let the actions of these heroes influence their later, more aggressive actions. A study conducted by Albert Bandura with several groups of children, each watching a different form of violence, agrees with this and suggests that the type of violence a child performs is shaped by the type that he or she sees on television; ;a person displaying violence on film is as influential as one displaying it in real life. televised models are important sources of social behavior; (Bandura, 126). Television has a strong influence on children from a young age, especially if adults give them many opportunities to watch and do not step in to remind their children that this is all fantasy, or to change the channel should the material be entirely too violent for childrens eyes. Cartoons in America, generally aimed at children, also form a surprisingly large source of violence. .u66a145a33415c54dbe86149060da1430 , .u66a145a33415c54dbe86149060da1430 .postImageUrl , .u66a145a33415c54dbe86149060da1430 .centered-text-area { min-height: 80px; position: relative; } .u66a145a33415c54dbe86149060da1430 , .u66a145a33415c54dbe86149060da1430:hover , .u66a145a33415c54dbe86149060da1430:visited , .u66a145a33415c54dbe86149060da1430:active { border:0!important; } .u66a145a33415c54dbe86149060da1430 .clearfix:after { content: ""; display: table; clear: both; } .u66a145a33415c54dbe86149060da1430 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u66a145a33415c54dbe86149060da1430:active , .u66a145a33415c54dbe86149060da1430:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u66a145a33415c54dbe86149060da1430 .centered-text-area { width: 100%; position: relative ; } .u66a145a33415c54dbe86149060da1430 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u66a145a33415c54dbe86149060da1430 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u66a145a33415c54dbe86149060da1430 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u66a145a33415c54dbe86149060da1430:hover .ctaButton { background-color: #34495E!important; } .u66a145a33415c54dbe86149060da1430 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u66a145a33415c54dbe86149060da1430 .u66a145a33415c54dbe86149060da1430-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u66a145a33415c54dbe86149060da1430:after { content: ""; display: block; clear: both; } READ: Art Research Essay Recently, more and more cartoons with violent themes have been released, but violence in animation has been around for decades. Perhaps the best-known examples of such violence are in the short Warner Brothers Looney Tunes cartoons, those that star Bugs Bunny, Daffy Duck, and Wile E. Coyote. These cartoons generally portray Bugs Bunny as the protagonist, finding quick and witty ways to save himself from the antagonistic Elmer Fudd, Yosemite Sam, or whoever the villain of the moment may be; Daffy Duck has been seen .

Rise Of Jazz Essays - Jazz Genres, African-American Music

Rise Of Jazz The Rise of Jazz Throughout this paper I will take you through some of the different styles and eras of jazz. Such styles as be-bop, cool jazz, dixeland, swing, and fusion emerged define jazz music. Along with these different styles there were important eras that molded jazz music, such eras as the golden ages, and the swing era. Jazz is a kind of music that has often been called the only art form to originate in the United States. The history of jazz began in the late 1800's. The music grew from a combination of influences, including black American music, African rhythms, Americans band tradition and instruments, and European harmonies and forms. Much of the best jazz is still written and performed in the United States. But musicians from many other countries are making major contributions to jazz. Jazz was actually widely appreciated as an important art in Europe before it gained such recognition in the United States. What differentiated jazz from these earlier styles was the widespread use of improvisation, often by more than one player at a time. Jazz represented a break from western musical traditions, where the composer wrote a piece of music on paper and the musician then tried their best to play exactly what was on the score. In a Jazz piece, the song is often just a starting point for the musicians t o improvise around. Few of the early jazz musicians knew how to read written music although the majority of the musicians did not. African Americans and Creole musicians in New Orleans played the first jazz music. Charles ?Buddy? Bolden is considered to be the first real jazz musician. His band ? The Bolden Band,? started playing around 1895, in New Orleans parades and dances, they eventually became one of the most popular bands in the city. In 1907 he became very ill and was committed into a mental hospital where he spent the rest of his life. Frankie Dusen, the trombonist of the ?Bolden Band?, took over the band and renamed it the ?Eagle Band? and they were very popular until about 1917.This sound of jazz music was classified as dixieland jazz. From this original style of dixieland jazz many other styles of jazz emerged. One of these new styles that emerged was swing. Swing is the jazz style that emerged during the early 1930s and emphasized big bands. It spilled into the late 1940s and then remained popular in recordings, film, and television music long after its main proponents had disbanded. Most swing-style groups had at least 10 musicians and featured at least three or four saxophones, two or three trumpets, two or three trombones, piano, guitar, bass violin, and drums. Guitarists, bassists and drummers offered repeating rhythms that were sufficiently simple, buoyant, and lilting to inspire social dancers, the style's largest audience. Musicians strove for large, rich tone qualities on their instruments. Solo improvisers did not seek intricacy in their lines so much as lyricism and a hot, confident feeling that was rhythmically compelling. For these reasons, the musical period of the 1930s and 1940s has been called the swing era and big-band era. Not all dance music played by big bands of the 1930s and 1940s was jazz. A large segment of the p ublic, however considered almost any lively, syncopated popular music to be jazz. The BeBop era, 1944-1955, represents for many the most important period in jazz history; several consider it the time when musicians began stressing artistic rather than commercial concerns, put new ways ahead of the old ways, and looked toward the future instead of paying tribute to the past. Others view bebop as jazz's ultimate dead end, the style that instituted seriousness and elitism among the fraternity stripped jazz of its connection with dance, and made it impossible for anyone except hard-core collectors, academics, and other musicians to enjoy and appreciate the music. But it's undeniable jazz changed forever during the bebop years. Cool jazz followed bop but was entirely different in mood, in its approach to arranging, and even in its choices of instrumentation. In this era, which began in 1947, many instruments were used in jazz for the first time. Softer-sounding instruments, unamplified, created

Italian Indefinite Pronouns (Pronomi Indefiniti)

Italian Indefinite Pronouns (Pronomi Indefiniti) Like indefinite adjectives (aggettivi indefiniti), in Italian indefinite pronouns (pronomi indefiniti) refer in general (rather than specific) terms to persons, places, or things without specifying the noun which they replace. Italian indefinite pronouns that can function as both pronouns and adjectives include: The regular indefinite pronouns (gli indefiniti regolari), i.e., those that have both a singular and plural form as well as a masculine and feminine form. alcuno- anyalquanto- somewhataltro- morecerto- somediverso- differentmolto- veryparecchio- somepoco- littletaluno- someonetanto- sotroppo- tootutto- allvario- various Di questi vasi alcuni sono grandi, altri piccoli.Some of these vessels are big, others are small. Diversi lasciarono la scuola definitivamente.Several left the school permanently. Molti sono partiti subito, certi il martedà ¬, solo pochi rimasero.Many left immediately, some on Tuesday, and only a few remained. Troppi parlano senza riflettere.Too many (people) talk without thinking. E non sa ancora tutto.He (she) still does not know everything. NOTE! The term tale/tali (such), which can function as both a pronoun and an adjective, only has a singular and plural form. The indefinite pronouns that have only a singular form. uno- aciascuno- eachnessuno- nobody, no one Venne uno a darci la notizia.Someone came to give us the news. A ciascuno il suo.To each his own. Nessuno ha preparato la colazione.No one has prepared the breakfast. Italian indefinite pronouns that function only as pronouns include: The indefinite invariable pronouns (gli indefiniti invariabili). alcunchà ©- anythingchecchà ©- whateverchicchessia- anyone, anybodychiunque- anyoneniente- nothingnulla- nothingqualcosa- something Non cà ¨ alcunchà © di vero in cià ² che dici.There is no truth in what you say. Checchà © tu ne dica, farà ² come credo.Whatever you may say (about it), I will do as I believe. Non dirlo a chicchessia.Do not tell anyone. A chiunque mi cerchi, dite che tornerà ² domani.If anyone is looking for me, tell them that Ill be back tomorrow. Niente di tutto cià ² à ¨ vero.None of this is true. Non serve a nulla gridare.There is no use shouting. Ha dimenticato di comprare qualcosa, ne sono sicuro!He forgot to buy something, Im sure! The indefinite pronouns that have only a singular form. ognuno- eachqualcuno- someone Ognuno à ¨ responsabile di sà © stesso.Everyone is responsible for himself. Qualcuno chiami un medico.Someone call a doctor. The indefinite pronouns nessuno, ognuno, chiunque, and chicchessia refer only to people: Nessuno (nobody, no one), when it precedes the verb, is used alone; when it follows the verb it is always reinforced by the negation non, which is placed before the verbal form. Nessuno puà ² condannarlo.No one can condemn him. Mio fratello non vide arrivare nessuno.My brother did not see anyone coming. Ognuno (everyone, everybody; each) is used to refer to each individual of a collection or group. Desidero parlare con ognuno di voi.I want to talk with each of you. Chiunque (anyone) is invariable and corresponds to qualunque persona (che); it can serve both as subject and complement (in two different clauses). È un libro che consiglio a chiunque abbia senso dellumorismo.It is a book that I recommend to anyone with a sense of humor. Chicchessia (anyone, anybody), infrequently used, corresponds to chiunque. Riferiscilo pure a chicchessia.Report it also to anyone. The indefinite pronouns qualcosa, niente, nulla, alcunchà ©, and checchà © are used only to refer to things: Qualcosa means one or more things. Per cena, qualcosa preparerà ².I will prepare something for dinner. Ti prego, dimmi qualcosa.Please tell me something. NOTE! The term qualcosa come corresponds to the expression allincirca (roughly). Ho vinto qualcosa come tre milioni.I won something like three million. Niente and nulla, negative indefinite pronouns (pronomi indefiniti negativi), mean nothing; if either term follows the verb they are accompanied by the negation non (which is placed before the verbal form). Niente à ¨ successo.Nothing happened. Non à ¨ successo niente.Nothing happened. Alcunchà © (anything), infrequently used, corresponds to qualcosa; in negative sentences it means nothing. Cera alcunchà © di curioso nel suo incedere.There was nothing strange in his gait. Non dire alcunchà © di offensivo.Do not say anything offensive. Checchà © (whatever), an obsolete form, is a compound pronoun (one indefinite and one relative); it has the meaning of anything that and serves as subject and complement. Checchà © Luigi dica, non mi convincer.Whatever Louis says, he couldnt convince me. The indefinite pronouns uno, qualcuno, alcuno, taluno, ciascuno, altro, troppo, parecchio, molto, poco, tutto, tanto, alquanto, and altrettanto are used to refer to people, animals, or things: Uno (a) indicates a person, animal, or thing in a generic way. Linformazione me lha data uno che non conosco.The information was given to me by someone I do not know. NOTE! Uni (the plural form of the pronoun uno) is used in conjunction with altri in phrases such as: Gli uni tacevano, gli altri gridavano.Some were silent, others were shouting. Qualcuno indicates a single person or a small amount, both for people as well as for things. Qualcuno mi ha telefonato, ma non so chi.Someone called me, but I do not know who. A qualcuno questo non piacer affatto.Some will not like it at all. Ne ho qualcuno di queste riproduzioni.I have some of these reproductions. NOTE! Essere qualcuno means to appear (from anonymity). È qualcuno nel suo campo.It is someone in your field.

Strong Report Card Comments for Language Arts

Strong Report Card Comments for Language Arts A comment on a report card is meant to provide additional information about the students progress and level of achievement. It should give the parent or guardian a clear picture of what the student has accomplished, as well as what he has to work on in the future. It can be hard to think of a unique comment to write on each students report card. To help you find the right words, use this compiled list of language arts report card comments. Positive Comments Use the following phrases to make positive comments regarding students’ progress in language arts. Reads eagerly during silent timeMakes good use of our classroom libraryUses text and pictures to predict and confirmElects to read or look at books during free timeChooses to write during classroom free timeTakes home books from our classroom libraryShares his written work with the whole classAnalyzes characters actionsAnalyzes story plotsCompares books to others by the same authorHas many interesting story ideasHas well-developed characters in her storiesHas a good attitude about booksRecognizes high-frequency wordsProduces oral reports that demonstrate knowledge and research skillsShows increasing confidence and competence in...Uses approximations for spelling, which is very appropriate at this timeUses beginning and ending sounds to identify wordsSpells many difficult wordsUses correct grammarWrites legiblyWorks to make her handwriting legibleContributes at our brainstorming sessionsListens as well as shares during classroom discussionsCommunicates with accuracyCompares and contra sts similar and dissimilar ideas Chooses suitably challenging reading materialRetells stories in correct sequenceReads with expressionWorks on the editing processSelf-corrects Needs Improvement On those occasions when you need to convey less-than-positive information on a report card, use the following phrases. Cannot predict story outcomes with confidenceHas difficulty with high-frequency wordsDoes not use our classroom libraryDoes not choose books or writing as an activity for free timeDoes not edit work carefullyUnwilling to rewrite or make changes in written workHas trouble sitting while listening to a storyReluctant to speak in front of the group or whole classShows some attention to print, but mostly makes up meanings from picturesHas trouble sitting while listening to a storyReluctant to speak in front of the groupGets discouraged when...Has a limited vocabularyDoesn’t seem to enjoy books or stories to readLacks sight vocabularySpeech development may be hindering correct spellingHesistant to read stories to the classWants to talk instead of listen to others share their ideasStill making many reversals of letters, words, and phrases

Fences (play) by August Wilson Essay Example | Topics and Well Written Essays - 750 words

Fences (play) by August Wilson - Essay Example he name of the play comes from the request made by Rose that Tory and Cory build a fence around their backyard which seems to represent her wish to keep the family together. It also shows her desire to keep those whom she loves close to her within the same house even if they are not really willing or able to stay with her. Despite these wishes of a perfect family oriented life, Rose is not someone who lives in the dream world since she is quite a realist in her expectations. The backdrop of the drama is taking place against race issues and the development of the idea of being African American while living with all the prejudice and hatred one has to suffer as an African American. In this sense, Rose does not have a longing for better days to come or a nostalgic approach which is displayed by other characters. She accepts what she has been given in life and the role she has to play in the world is very clear to her since she is a mother and wife to the best of her abilities. She is certainly trying to improve her condition through practical and available means such as asking her son and husband to build a fence for her but she does not seek out things which might be too much to ask for from the world. In fact, the only thing she does seek quite strongly is a bright future for her own son. She supports his decision to play football and supports him fully in his struggle to be a player that can overcome the barriers placed before him due to his race. As further proof of her compassion, she accepts the illegitimate child of her husband with open arms even though she does not forgive her husband for cheating on her. This reflects the nurturing and sensitive side of her nature and it does certainly add to her character as a mother figure. As a mother figure, Rose certainly goes through her trials and tribulations the least of which is coming to terms with seeing the proof of her husband’s faithlessness in front of her. However, it is her mother instinct which takes

Quantitative Techniques in Business as Expressed from the Analysis of Essay

Quantitative Techniques in Business as Expressed from the Analysis of Samsung and Apple Companies - Essay Example The companies have to ensure that the products are of high quality and meet the needs of their customers. Other factors that determine the loyalty of customers to different brands include involvement of the customer in the product and the switching pof costs between brands. It is thus the duty of the top management in any organization to ensure that they apply their skills and expertise in identifying these factors. Owing to this, it has been found that some businesses are able to perform better than others. Most of the successes attributed to some of the companies are currently related to their application of new technologies and not just the efficiency of their operations. Academics and business people have applied the concept business model in determining and providing a comparison of how business both within the same sector and different sectors operate. These models help to establish what a business does and the activities they engage in to do such things. Consequently, they act as vital tools in the analysis of the financial performance of different companies. A healthy competitive environment between two companies within the same sector is most of the time influenced by the level of aggression and aggressiveness. There is an interesting competition majorly between Smartphone giants like Samsung and Apple. They produce Smartphones in an industry that is characterized by rapid development in technology and short product life (Xun Lin, et al., 2010). The manufacture of mobile phones and operations in developing companies are creating pressure on Smartphone

McGregor’s Theory X and Y Essay Example for Free

McGregor’s Theory X and Y Essay The foundation of McGregor’s theory has direct links to Taylor’s study of scientific management: a study of scientific management as a link between human beings and their jobs which in turn need to be re-constructed to maximise efficiency (Waddell et al. 2007, p. 43). Many researchers and scholars have developed theories based on the work of F.W. Taylor. McGregor, Maslow and others who assisted to improve the view of human relation tried to prove that there is another side to the traditional perspective of workers (Bartol and Martin 1998, p. 52).This literature review will be focusing on the evolution of McGregor’s Theory X and Theory Y in relation to the development of management theory. Moreover will be explaining the definition of X and Y theory and its relevance to 21st century. McGregor proposed two contrasting sets of managerial assumptions about the workers. He further examined taking Taylor’s traditional view of workers and Mayo’s human relation approach into consideration, which he labelled Taylor’s view as ‘Theory X’ and as Mayo’s view as ‘Theory Y’ (Montana and Charnov 2000, p. 25). [ (Stephen P.Robbins) ] However, ‘both these theories have the common definition of functions of manager: management is responsible for organising the elements of productive enterprise- money, materials, equipment, and people- in the best interest of economic ends’. Main differences in these two theories are the assumptions (Urwick 1970, p .1). McGregor with his experience as a manager and as a psychologist, observed the behaviour and attitude of the workers (Daft.2003, p. 47). According to Kopelman, Prottas and Davis (2008, p 1) Theory X represents that workers generally dislike work, are irresponsible, ar e lethargic and require close supervision. In contrast, Theory Y denotes that individuals are generally creative, innovative, accept responsibility and believe work is a natural activity. Furthermore, his observations on the classical and the behavioural approaches to understanding workers were found different. He paired up his theories to the work of Abraham Maslow, where he compared the higher needs put forward by Abraham Maslow such as self-actualization, to a Theory Y leadership style, and lower needs such as physiological and safety, to the Theory X leadership style (Bartol and Martin 1998, p. 51). Theory X is referred to as optimistic and Theory Y as pessimistic (Montana and Charnov 2000, p 26), others labeled Theory X as negative and Theory Y as positive (Robbins et al.1998, p 202) and according Schein (1970, p.5) McGregor called Theory X as â€Å"hard approach† and Theory Y as â€Å"soft approach†. According to McGregor (1960, p. 33-35), the assumptions of Theory X are that individuals by nature do not like to work and will avoid it if possible. Furthermore, human beings do not want responsibility and desire precise guidance. Additionally, the workers put their own concerns above that of the organization and by nature they are resistant to changes. Finally, human beings are taken for granted to be easily manipulated and controlled. According to Boddy and Paton (1998, p. 201) it is of practice with Theory X philosophy to include time registration, supervision, quality checked by a superior as assigned in job description. The main focus of Theory X is that of external control, by systems, procedures or supervision. They believed that managers who accepted Theory X view would be inconsiderate in accepting aptitude of a normal human being (Boddy and Paton 1998, p. 200). Managers who assign to Theory X are expected to practice authoritarian style (Lewis, Goodman and Fandt 1998, p. 56). By contrast, Theory Y has assumptions which is completely opposite of Theory X. As per Theory Y, work is natural, and tries to occupy them actively and enjoy too. Furthermore, workers do not require detailed supervision and they are self-motivated. Additionally, it assumes that they work innovatively and creatively. If people are given a chance to prove their competency they are ambitious to solve problems and help their organizations meet their goals (McGregor 1960, p. 47-48). Managers who hold the belief in Theory Y are likely to exercise a participatory style, discussing with their subordinate voicing their opinion, and encouraging them to take part in decision making (Lewis, Goodman and Fandt 1998, p. 56). Management’s main aim is to structure a proper working environment in order to achieve their higher-order personal goals by achieving organizational objectives (Bloisi, Cook and Hunsaker 2007, p. 205). The organizations of 21st century are in a more dynamic world where technology, education and research and better economic conditions are vastly improving. It becomes gradually more important for managers to hold the set of assumptions about human behaviour that McGregor has proposed in his Theory If an individual holds Theory X assumptions then he will not be logical and responsive to data, therefore, will have limited choice of managerial style. In regard to Theory Y, he can wisely choose from variety of options (Schein 1975, p. 7). Having worked for 15 years in many types of organization, Schein (1975, p. 3) believes that organizations need more Theory Y managers at all levels especially at higher levels. However, few companies still practice Theory X management (Daft 2003, p.48), but many are applying Theory Y concept of management such as Hewllet Packard (Waddell et al. 2007, p. 56) and SOL cleaning service, and it has proved to be a success. They consider everyone equal and value each employee’s contribution (Daft 2003, p.48). According to Kochan, Orlikowski and Gershenfeld (2002, p.4) assumptions characterizing twentieth century refers to Theory X and twenty first century organization’s characteristics refer to Theory Y were explained using people, work, technology leadership and goals. Many organizations have realised the importance of the human capital and are currently try to adopt to change themselves as they recognize. McGregor argued that modern organizations do not take into account the innovativeness of workers. In order to utilize these valuable assets, managers need to provide employees to use their expertise. Thus, provide and create conditions that integrate individual and organisational goals (Boddy and Paton 1998, p. 200-201). McGregor believed that people in twenty first century are more educated and affluent and they are more self controlled (Hersey, Blanchard and Johnson 2001, p. 60). Hence, most of the modern organisations strongly practices management by delegating authority, job enlargement, making work more interesting, with increased level of responsibilities and their share of information and innovations regarding the work content, work design and results (Montana and Charnov 2000, p. 25). Finally, in order to measure the performance of the individual, the organisations have appraisal system which evaluates their performances annually or semi-annually. For example, companies such as General Mills, Ansul Chemicals, and General Electric have been experimenting with performance appraisal approaches (Ott, Parkes and Simpson 2003, p. 168). These managerial propositions are associated best with the Theory Y management style. According Lorshe and Morse (cited in David and Robert 2000, p. 202) in their research of four companies and concluded that successful company in the normal business used a consistent Theory X style and the other in the creative business used theory Y .These theories may be applicable to some organizations and to some cultures. In article, peoples Republic of China, being a communist country has practiced Theory X in the past and has adopted to practice Theory Y style with a productive result (Oh 1976, p. 1). In summary, Theory X and Theory Y have significant impact on modern management styles. The assumptions of these two theories hold the extreme ends and McGregor assumed that people’s behaviour is strongly influenced by their beliefs. His theories have been labelled relating to Taylor and Mayo’s work. As in my opinion there is no one best theory which may fit all organizations. However, more in depth research need to be undertaken to identify and prove which theory does best fits. According to Boddy and Paton (1998, p. 202) many argue that both these theories may be inappropriate in some situations. â€Å"Theory Y is a theory of human motivation, not a theory of how to manage or run an organization† (Schein 1975, p. 1). References Waddell, D, Devine, J, Jones, GR George, JM 2007, Contemporary Management, McGraw-Hill Irwin, North Ryde. Bartol, KM Martin, DC, Management, 3rd edn, McGraw-Hill Co, Boston Montana, P Charnov, B 2000, Barron’s Management, 3rd edn, Hauppauge, N.Y Daft, RL 2000, Management, 6th edn, Thomson learning, Ohio Robbins, SP, Millett, B, Cacioppe, R Marsh TW 1998, Organizational behaviour: Learning and managing in Australia and New Zealand, 2nd edn, Prentice Hall, Sydney McGregor, D 1960, The human side of enterprise, McGraw-Hill book company, New York Boddy, D Paton, R 1998, Management: an introduction, Prentice Hall Europe, London Lewis, PS, Goodman, SH Fandt, PM 1998, Management: Challenges in the 21st century, 2nd edn, South-Western College Pub, Cincinnati Bloisi, W, Cook, CW Hunsaker, PL 2007, Management and organisational behaviour, 2nd edn, McGraw-Hill, Berkshire Hersey, P, Blanchard, KH Johnson, DE 2001, Management and organizational behaviour : leading human resources, 8th edn, Prentice Hall, Upper Saddle River Kopelman, RE, Prottas, DJ Davis, AL 2008, ‘Douglas McGregor’s Theory X and Y: toward a construct†valid measure’, Journal of Managerial Issues, vol. 20, no. 2, 255†271, retrieved 22nd March 2011, Ebsco Host Ott, JS, Parkes, SJ Simpson RB 2003, Classical reading in organizational behaviour, 3rd edn, Thomson/Wadsworth, Belmont Schein, EH 1975, ‘In defence of Theory Y’, Organizational Dynamics, Vol. 4, Issue 1, p17-30, retrieved 22nd March 2011, Ebsco Host Oh, TK 1976, ‘Theory Y in People’s Republic of China’, California Management Review, Vol. 19, Issue 2, p77-84, retrieved 22nd March 2011, Ebsco Host Urwick, LF 1970, ‘Theory Z’, SAM Advanced Management Journal, Vol. 35, Issue 1, p14, retrieved 28th March 2011, Ebsco Host Kochan, T, Orlikowski,W Gershenfeld JC 2002, ‘Beyond McGregor’s Theory Y:Human Capital and Knowledge-Based Work in the 21st Century Organization’, retrieved 24th March 2011, http://mitsloan.mit.edu/50th/pdf/beyondtheorypaper.pdf

Elian Gonzalez :: essays research papers

At this point, it probably doesn't make much difference if or when Elian Gonzalez is finally extricated from the clutches of his Miami relatives. The damage has already been done. In 10 or 15 years, Elian's much-discussed psychic injuries will or will not have manifested themselves in some regrettable way, but we'll just have to wait and see. And when we get the news of his inevitable breakdown, we'll sit around and tsk-tsk, trying to remember specifics of the half-year melodrama that brought Elian so relentlessly into our homes and water-cooler conversations. Chances are we won't be able to remember exactly what the arguments were for keeping Elian here or for sending him home. Instead, we'll remember media-crafted images, because that's what this whole case has been about. There's no legal or emotional logic; there's only the mind-numbing parade of made-for-television snapshots: The self-righteous Miami Cuban-American community, chanting and mugging for the cameras; the indignant lawyers; the self-serving talking heads and the political posturing. If we're really lucky and concentrate hard, we'll remember the bemused expression of the little boy himself. Who do we have to thank for this montage of manipulation? The media, of course (yours truly included). What began as a human catastrophe (refugees drown at sea, motherless boy picked up by kindly fishermen) has been turned into something far less redeeming than a circus. When this fifth-rate soap opera began, there was talk of various positive, if peripheral, consequences. Could this little boy's plight push the U.S. government into a more reasonable relationship with Cuba? Would there be a heartwarming and speedy reunion between Elian and his father? Might the members of the American media be able to act like adults and take this for what it is: an intensely private family tragedy of a little boy lost? In retrospect, we should have known things would be bad. Elian's damp arrival on our shores interrupted a couple of spectacularly slow months in the nation's newsrooms — there was nothing to hold us back, so we stampeded down to Miami with our microphones amped and our camera lights blazing. Six months later, according to the media mavens at Newswatch.org, Elian has become the most covered media object since O. J. Simpson, surpassing JFK Jr. and even Diana in network stories. Various networks and CNN have cut a deal with the Miami relatives allowing cameras into the house, should INS officials or federal marshals finally make a move to retrieve Elian.

Chemistry and Confidential Instructions

O Level Chemistry (5070) Frequently Asked Questions Can my candidates take a dictionary / calculator into the examination? Calculators can be used in all science papers and students should take a calculator, ruler, pencil, protractor and set of compasses into all science exams. Dictionaries are not allowed. My candidates did 0K last session but I would like advice on how to improve my teaching and where they were losing marks unnecessarily – what help can I get? If you want a detailed breakdown then you can ask for a Group Report on your candidates but this will cost you money and so is only really worth doing if you have erious concerns.If you want more general advice the Report on the Examination gives a wealth of advice on teaching and highlights where candidates have most difficulty. What equipment should we have in our laboratories? A CIE booklet entitled Planning Science in Secondary Schools is available from CIE Publications and a list is given in the syllabus. What hel p and advice can you give me about health and safety in the laboratory? The most important point of first contact is with the organisation responsible for health and safety in schools locally; they must be consulted if you are in any doubt and will dvise on any local legal requirements.In addition, there are several useful guides available and many are listed in the booklet ‘Planning Science in Secondary Schools'. Most chemical suppliers' catalogues have details of safety requirements for specific chemicals, and ‘Hazards' (published by CLEAPSS Development Group, Brunel University, Uxbridge), ‘Hazards in the Chemical Laboratory (published by the Royal Society of Chemistry, ISBN 0-85186-489-9) and ‘Hazard Data Sheets' (published by BDH Laboratory Supplies) are all excellent reference points.An on-line resource is located at www. labsafety. rg My candidates are doing the Alternative to Practical paper, so they don't need any laboratory experience, do they? Yes, they do. The ATP paper is an alternative to the Practical Paper, not an alternative to doing practical work. The syllabus makes it clear, in both the Aims and the Assessment Objectives, that the course should be taught practically and that candidates should have experience of doing (rather than merely seeing) experimental work.The Alternative to Practical paper assesses their practical skills, including both data handling and familiarity with standard laboratory equipment. Any candidates without experience of doing practical work will be disadvantaged in this paper. Also practical work is an excellent way of demonstrating a particular point and helping students understand the chemistry theory. Is there an option available which doesn't involve any assessment of practical skills? No. Practical skills are an integral part of chemistry.A chemistry qualification without a practical component would be a second-rate assessment of the subject, and CIE aims to provide valid qualifications r ecognised in all parts of the world. Practicals are a good way of It does not have to be expensive or complicated and many experiments can be very much run as ‘kitchen sink style ones using only household chemicals. http://www. xtremepapers. net I am in the middle of setting up the practical examination, and I need to look at the question. Am I allowed to look at a copy of the question paper?No. You should have preparing the examination using the Confidential Instructions, which are issued to Centres in confidence well in advance of the examination. These instructions tell you all you need to know about the apparatus requirements, how the apparatus is to be rranged, and what it will be used for. If you have a problem which cannot be resolved using the Confidential Instructions, please telephone our Customer services line on +44 1223 553554 or e-mail [email  protected] org. uk.I haven't got the exact equipment specified in the Confidential Instructions, but I do have somethin g similar. Am I allowed to adapt the experiment at all? Yes, you are allowed to make minor adaptations to the apparatus, providing that the apparatus still works as specified in the Confidential Instructions. You do not need to seek our approval for these minor adaptations. However, you must report the adaptations in detail to the examiners, by completing the Supervisor's Report form on the back of the Confidential Instructions, which should be enclosed with the candidates' completed scripts.More substantial adaptations, which require changes to the experiment or which cause the apparatus to work in a different way from that described in the Confidential Instructions, are not allowed. Which option makes it easiest for my students to achieve high grades? They are all the same difficulty, and in every examination we use some robust statistical methods o make sure that the options really are all the same difficulty. Which is the correct textbook for the course?We don't require Centres to use any one particular textbook for our courses, and we would hope that wherever possible teachers would make use of a variety of different resources, drawing from the best bits of each. We do provide a list of books that we believe teachers may find helpful, and you can find this on our website, this will also identify any text books that CIE have produced or which ones we have endorsed for use with our syllabuses. Do I need to teach the course in the order given in the yllabus? No, and we don't recommend it.The syllabus outlines what may be assessed in the examination, but we would normally expect teachers to follow their own scheme of work based on the syllabus. Schemes of work suggesting teaching activities will shortly be available from the teacher support site. Where can I get advice from fellow teachers? There is a teacher discussion group for teachers, hosted by the product manager at CIE and a senior examiner. To subscribe or unsubscribe via the World Wide Web, visit the Teacher Support Site for instructions. 2/2

A Hard Days Night

Music is one of the Great Britain's most marvelous contributions to the world, despite the tendency of musical movements over the last four decades to spawn cultures that appear to morally damage the social norms, especially on the youth. Much of the phenomenon can be attributed to the advent and development of television as a medium of communication, for television has vastly catapulted the career of popular musicians to a whole new level. In a similar magnitude, cinema has also projected negative implications on how common people treat celebrities. Together with television, cinema has dehumanized celebrities in such a way that society and culture, particularly in the west, have eventually nurtured television viewers with mindless conformity to the media as well as a fully developed system of glorifying celebrities and their radical behavior. The tremors of broadcast media and cinema have produced the concept of superficiality and prejudice as a basis for popularity. It is quite evident on how movie stars, musicians, athletes, and commercial models are treated in restaurants and other public places. The motion picture A Hard Day's Night, for instance, exemplifies and tackles the backlash of the demeaning nature of popularity as felt by celebrities in a personal level since they themselves feel the luxury of a normal life gradually departing from them. The context of the film is inclined on the idea that the visual elements provided by cinema and television create a following of a particular artist or group of artists based on appearance and not on talent. In analysis of the growing problem, Kevin Donnelly's British Film Music and Musicals emphasizes the phenomenon of how A Hard Day's Night became the antidote to the venom brought about by cinema and television's visuals in such a way that the focus is more on The Beatles' music as the storyteller instead of the plot or the cast themselves (Donnelly, 2007). Contrary to other films involving music artists such as the legendary Elvis Presley who has been the guinea pig of film makers who did nothing but to exploit his popularity in film. Donnelly writes that the film virtually connects viewers to the band through the musical score which goes hand in hand with the situation and emotions that the film's scenes raise (2007). The songs suggest how the Beatles scorn about the fringe benefits of popularity while dealing with the punishing nature of their duties such as recording and touring. The virtual contact also happens as the motion picture shares the band's brutal torments of having a celebrity life while sacrificing their personal goals and interests. The visual technologies of cinema and film indeed contribute to the actuality that such mediums of communication make deities out of celebrities. In this sense, A Hard Day's Night represents and reflects the the star-making machinery around The Beatles in such a way that it documents of The Beatles' misadventures in the United States during the peak of their career. The band's grasp with commercial success were represented through encounters of pursuit by law enforcers and a horde of fans as well as their appearances on press conferences, endeavors with their agents, and hotel life (Balio, 1987). Therefore, Such circumstances are quite similar to the cases of modern celebrities being sighted and chased on public places or being arrested for driving fast and under the influence of psychoactive substances. A Hard Day's Night, meanwhile celebrates the band's stardom in a different manner, by highlighting the band's versatility as musicians since part of the film captures the band's latest compositions at the time, being played during practice sessions, live performances, and informal set-ups (Balio, 1987). The film's distinct approach to the topic subjects the tendency of visuals such as film and television as career boosters in such a way that the showcase of the band's talent through live performances are shown, unlike traditional musician oriented films which make use of the artist's recorded material. In a corresponding approach, A Hard Day's Night together with the film and television industry serve as a mockery of the star-making machinery around The Beatles as well as other celebrities and popular personalities, primarily because music is an art form which stimulates appreciation through hearing. As such, the dedicated medium of communication for expressing the art of music and recording artists is supposed to be the radio, not television, film, and definitely not print. The motion picture also insults the The Beatles as artists by humorously tackling the problem of pop fame, which the band members experience, through a medium that caused such a plague in the first place (Glynn, 2005). In addition, the polluting nature of television and cinema has once again made its presence felt as the visuals have proven to be useful aids in exploiting artists and promoting the developed system of idolizing celebrities, which is in this case happens to be The Beatles. Furthermore, the visuals provided by television and film entombs true musical talent by taking away the recording artists' musical credibility (Frith, 2002). Simon Frith (2002) however implies that rock is to be understood as a television product. The key elements and features of television and film, for Frith, have configured the manner of how the audience perceive music and musicians. Simon Frith writes that television has become largely responsible in the field of star-making for the reason that television with its emphasis on close-ups of the performer and musical virtuosity, particular types of staging and spectacle has added flavor to musicians as celebrated public figures (2002). Frith also adds that the emergeance of music networks such as Music Television together with several music related television programs such as Top of the Pops have also aided artists in terms of promotion which affects components of stardom such as record sales and chart ratings (Frith, 2002). The advent of technology has indeed influenced the the norms and standards for treatment of celebrities. Visuals, in an unimaginable, have added spice to musicians as attractions to the public eye, with it, the innovation of promotion for recording artists have revolutionized. Regardless if the changes brought about by the television and motion picture industry to the public status of career musicians have positive or negative undertones, the bottom-line still goes down to a particular point, change. A change that has been felt almost half a century after it has long been innovated and practiced.

Alive in Souls essays

Alive in Souls essays Rockn Roll is still alive!! It is belived that it died by the end of 1960s but it wasnt. The feelings, the ideas that Rockn Roll was representing are still living in peoples souls. Like freedom and sex. But it is hard to say that it is living as a type of music. Sounds of music changed too much from 1960s to nowadays. To understand Rockn Roll era, we have to define what is music. Music is the arrangement of sounds in pleasant tunes. But not only the well-combined tunes, it also has big effects on peoples minds, emotions and even on physical bodies. And this is the reason why the music is so important and effective on peoples lifes. Music represents so many ideas that have direct effects on peoples minds. Love, hate, war, peace, sex, freedom, religion... And I think it is the most important thing about music. It can easily affect people and it is the best way to do it. As a result music is more and more powerful and important than it seems. This makes sense why the music market is so huge and productive and why there is an evil race between the music companies to gain power of music in order to have more money, and America is the heart of this business from past to today. The America of fifties and sixties was too complicated. After the Second World War, America developed too fast as a victorious country. People who returned from war wanted a peaceful life. As a result monotonous life period started in America. Everything was same, ordinary and under control by state, entertainment, church and capitalism. People were sleeping like sheeps and saw a perfect America dream. And the powers, which controlled the society, never wanted something or somebody awaken them. But some people were in opposition to this life. They wanted something more exciting and freer. Due to that they started to look for their real personal identities. In this point music had a big role. Music, Rock ...

Grammarian Definition and Examples

Grammarian Definition and Examples A grammarian is a specialist in the grammar of one or more languages: a linguist. In the modern era, the term grammarian is sometimes used pejoratively to refer to a grammatical purist or prescriptivistone whos primarily concerned with correct usage.According to James Murphy, the role of the grammarian changed between the classical era (Roman grammarians seldom ventured into the field of prescriptive advice) and the Middle Ages (It is precisely on this issue that medieval grammarians strike out into new areas) (Rhetoric in the Middle Ages, 1981). Observations Edward SapirThe man who is in charge of grammar and is called a grammarian is regarded by all plain men as a frigid and dehumanized pedant. It is not difficult to understand the very pallid status of linguistics in America.H.L. MenckenMore than once, plowing through profound and interminable treatises of grammar and syntax during the writing and revision of the present work, I have encountered the cheering spectacle of one grammarian exposing, with contagious joy, the grammatical lapses of some other grammarian. And nine times out of ten, a few pages further on, I have found the enchanted purist erring himself. The most funereal of the sciences is saved from utter horror by such displays of human malice and fallibility.Umberto EcoWhen the writer . . . says he has worked without giving any thought to the rules of the process, he simply means he was working without realizing he knew the rules. A child speaks his mother tongue properly, though he could never write out its grammar. But t he grammarian is not the only one who knows the rules of the language; they are well known, albeit unconsciously, also to the child. The grammarian is merely the one who knows how and why the child knows the language. Donatus, Roman GrammarianThe discipline of grammar developed parallel with that of rhetoric during the Hellenistic and Roman periods, and the two often overlapped. Grammar schools provided training necessary for a student before he entered a school of rhetoric . . .. The most famous Roman grammarian was Aelius Donatus, who lived in the fourth century after Christ and whose works were the basic grammatical texts for the Middle Ages...The Ars Minor of Donatus, his most read work, is limited to discussion of the eight parts of speech... but his fuller Ars Grammatica goes beyond strictly grammatical subjects to discuss, in Book 3, barbarism and solecism as faults of style as well as a number of ornaments of style also discussed by rhetoricians...Donatuss treatment of tropes and figures had great authority and was substantially repeated in handbooks by the Venerable Bede and other later writers. Since grammar was always more widely studied than rhetoric, and often out of Donatuss text, hi s discussion insured that these ornaments of style were known in later centuries even to students who did not study rhetoric as a separate discipline. Robert A. Kaster[In late antiquity, the] grammarian was, first, the guardian of the language, custos Latini sermonis, in a phrase of Seneca, or guardian of articulate utterance, in the description of Augustine. He was to protect the language against corruption, to preserve its coherence, and to act as an agent of control: thus, early in his history, we find the grammarian claiming the right to limit the grant of citizenship (civitas) to new usages. But by virtue of his command of the poetic texts, the grammarians guardianship extended to another, more general area, as guardian of tradition (historiae custos). The grammarian was the conservator of all the discrete pieces of tradition embedded in his texts, from matters of prosody (to which Augustine refers in his characterization) to the persons, events, and beliefs that marked the limits of vice and virtue.The two realms of the guardianship thus answered to the two divisions of the grammarians task, the knowledge of speaking correctl y and the explication of the poets...

Building compstract The Pazzi Chapel Essay Example | Topics and Well Written Essays - 4750 words

Building compstract The Pazzi Chapel - Essay Example Il Gesu Church (Church of the Gesu) of the Piazza del Gesà ¹ is situated in the centre of Rome, Italy and much bigger than Pazzi Chapel. Constructed by Vignola from 1568 to 1580 and funded by Allessandro Cardinal Farnese. This thesis compares the research that has been done on the Pazzi Chapel and, in turn, compare it the Il Gesu Church. Thesis statement While the Pazzi Chapel is gaining popularity by the day, there have been a number of attempts to discredits it popularity based on features such as setting, building mass, facades interior, construction, materiality, style and colors. The closest comparison that the Pazzi chapel building can have is the Il Gesu. However, is the Pazzi better than Il Gesu? The construction system of the chapel was loaded bearing masonry, made of concrete masonry blocks. Cement and synthetic adhesives are used as mortar to bond the masonry. The context of the chapel was intended to be a chapter house for religious teaching purposes. The interior and exterior of Pazzi Chapel are controlled by pillar type, which is popular during the Renaissance period. The architect shrewdly uses pillar type structure inside Pazzi Chapel to divide the front colonnade at facade into five, and the middle one is the biggest to separate the colonnade into two parts, and to highlight the center . The Pazzi Chapel, this small but gorgeous building reaches the vertex of the early Renaissance style.3. This chapel is full of rational and peace atmosphere and the constant change of the chapel causes a bright contrast with gothic architecture form. An attribution to the altar that was placed opposite to the entrance reflected from the inside, located at the center of the chapel that is visible from the facade. Six monolithic Corinthian columns symmetrical to each other supported the facade of the chapel, and a semi-circle opening is located in the upper part of the facade. There were no decorations on the column itself, but on the upper part of the facade, religious symbols were carved on the wall and around the dome. There were two narrow bays to the either side of the central bay. Four rectangular panels are located at the either side of the semicircular archivolt. The upper part of the facade was designed for the preparation of revetment. The basic symmetrical geometric form of deposition was used on the facade that was continuing designed on the interior. Differently, Brunelleschi not only used simple geometric from to design the interior part of the chapel, but also re-arranged these geometrical displacement. For example, circular domes were built above the rectangular structure. The ceiling of the chapel was evenly divided into twelve triangle shapes. The walls of the chapel are associated with six fluted Corinthian pilasters. These pilasters were lateral to the narrow bays. The narrow bays support as the medium to the arched window. Not to mention, there was a large rectangular window was built on the rear side of the wall. The window itself reflects the facade. The decorations of the chapel were majorly made in terra cotta, twelve terra cotta Apostles were encircled by the roundels, and twelve niche-shaped moldings were under the Apostles of the lambs. These Apostles were arranged in a group of three placed on the four corners of the chapel faces the compass and the color of all these pilasters, domes, even the chapel were majorly white. All of these arrange symbolized Florence as a heavenly city. Even though the chapel is small,