Use of Symbols and Symbolism in The Great Gatsby Essay -- Great Gatsby

Imagery assumes a significant job in any novel of artistic legitimacy. In his novel The Great Gatsby, F. Scott Fitzgerald utilizes images to depict occasions, sentiments, characters and timespans. All through the story, Fitzgerald utilizes solid differentiating images, for example, West Egg and East Egg. His boss utilization of other overwhelming images, for example, shading and light are likewise apparent all through the novel. The story starts as the storyteller, Nick Carraway, depicts his appearance to West Egg. One can promptly spot new-cash Gatsby and no-cash Nick on one side of the inlet and old-cash Buchanans on the other (Tanner x). The prevalence of East Egg over West Egg is in a split second clear and has a lot of importance. East Egg speaks to the high class, the noble and the first class. The individuals who live in East Egg originate from affluent family lines. Contrary to this, West Egg speaks to the recently rich or those with basically no cash by any means. There is a lot of self-importance and scorn between these two gatherings as can be noted on page 16 of the novel when Jordan Baker comments scornfully on the way that Nick lives in West Egg. The imagery of eggs can be additionally clarified. During one of Gatsby's gatherings, Nick is offered an egg. He airs out it and finds a beccafico, a delicacy, and a fortune. Leather treater comments on this striking corresponding to the New World. In the event that one glances at America and what it has made, does one see a sickening, prematurely ended, hindered and still-conceived thing, fit uniquely to be discarded? Or on the other hand a fortune, something extraordinary (...) and radiant and uncommon? (x). The Eggs in the novel speak to the two pieces of America: one (East Egg), materialistic, shallow and liberal and the other (West Egg), which is continually anticipating the happening to someth... ...ott Fitzgerald's Criticism of America. Modern Critical Interpretations: F. Scott Fitzgerald's The Great Gatsby. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 11-27. Fitzgerald, F. Scott. The Great Gatsby. Britain: Penguin, 1990. Leather treater, Tony. Presentation. The Great Gatsby. Creator F. Scott Fitzgerald. Britain: Penguin, 1990. vii-lvi. Way, Brian. The Great Gatsby. Modern Critical Interpretations: F. Scott Fitzgerald's The Great Gatsby. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 87-108. Hack, Robert and Libby Stockstill. Shading in The Great Gatsby. http://www.nmusd.k12.ca.us/cdmhs/gatsbycenter/roberthack&libbystockstill. November 29th 1997, 5:16pm. O'Brien, Meghan et al. Shading Imagery in The Great Gatsby. http://www.nmusd.k12.ca.us/cdmhs/gatsbycenter/meghanobrien/gg.html. November 29th 1997, 5:23pm.

Chuck Close Essays (564 words) - Pointillism, Chuck Close

Throw Close Throw Close (brought into the world 1940) is an American photorealist having some expertise in close-up pictures and self-representations. Close is one of the not many present day pragmatists or photorealists who center around the human face. In 1988, in mid-profession, Close was incapacitated because of a blood coagulation in his spinal segment. He recovered fractional utilization of his arms, and had the option to come back to painting in the wake of creating procedures which permitted him to work from a wheelchair. The entirety of Close's works depend on photos he takes himself. Close consistently follows similar rules in arranging a work of art. The source photo is a firmly edited head and shoulder shot. The subject is a relative or companion. The completed work is constantly titled by the subject's first name alone (except for ?Self-Portrait?). This choice was planned to extend a quality of namelessness, permitting watchers to move toward the work without assumptions about the sitter. Close's working strategy is incredibly work serious. He starts by separating his source photo into a matrix and making a comparing lattice on the canvas. He at that point carefully deciphers the picture onto the canvas square by square, continuing from the upper left to the base right. Probably the biggest canvases contain a great many squares; Close finishes the entirety of his compositions by hand. Given the meticulous idea of this work, a portion of the prior enormous scope artistic creations took as long as fourteen months to finish. Close's work falls into two periods, the early and the center, in which he is presently productively locked in. It is anything but difficult to isolate the two time frames on either side of Close's 1988 stroke that left him unfit to hold a brush. (He paints with his brush attached to his hand by a metal and Velcro gadget.) Close began to work with bolder, increasingly expressive and brilliant checks before his extraordinary physical injury. The new work is both the equivalent; they're conspicuous as works by Close and could be by nobody else He despite everything utilizes the matrix he despite everything paints heads. In spite of the fact that the measure of data the new pictures convey is not exactly the old, the characters delineated appear to be hotter, progressively prompt, and increasingly overflowing. Close's repertory of imprints has changed drastically. Instead of the watchful dabs and smaller than expected strokes of his initial work, also the photos built of fingerprints he made in the early'80s, every one of the expanded squares in the new networks contains bright, painterly denotes that work as scaled down conceptual compositions of their own. Concentric circles, capsules, frank and donut like shapes, and freestyle squiggles are the structure squares of his new faces. His palette has extended from high contrast and shading pictures dependent on the three primaries to one that tilts toward yellow and tissue tones at one extraordinary, and profound purples and blues on the other. In a nutshell, Close's investigation of shading has been similarly exhaustive and efficient. He started by copying high contrast photography, at that point spearheaded a three-shading process similar to that utilized in business printmaking. Since 1986, Close has utilized oil paint as his essential work of art medium, and as of now favors brushwork that blends hues in a vivacious, apparently lively way, so each square in his framework resembles a smaller than usual mosaic. He is by and by one of the most exceptional and notable craftsmen of the twentieth century. Histories

SIPA Finance Club Second Semester Signature Event COLUMBIA UNIVERSITY - SIPA Admissions Blog

SIPA Finance Club Second Semester Signature Event COLUMBIA UNIVERSITY - SIPA Admissions Blog There are many SIPA student clubs to participate in (full list here) and the SIPA Finance Club is having an event today.   Details are below. __________________________ The board of the SIPA Finance Club is pleased to announce its signature event for the second semester, a round-table discussion on the investment outlook and key trends in emerging markets.   The round-table will be moderated by Peter Marber, SIPA adjunct professor and Global Head of Global Emerging Markets Fixed Income and Currencies at HSBC Halbis Partners.   Guest panelists will include accomplished professionals from across the emerging markets landscape, including asset management, credit risk, political risk, and institutional sales. Opportunities and Risks in Emerging Markets in the Wake of the Global Financial Crisis Date: Monday, April 26th Time: Registration to open at 6:00 pm, with panel to begin promptly at 6:30 pm Location: International Affairs Building, Room 1501 Moderator: Professor Peter Marber, HSBC Halbis Panelists: * Arif Joshi, HSBC Halbis * Ricardo Mora, Goldman Sachs * Willis Sparks, Eurasia Group * Peter Suozzo, SAC Capital * Gabriel Torres, Moodys After the round-table discussion, please join us for a cocktail reception on the 15th floor. The event is free of charge to SIPA Finance Club members and $10 for non-members. Please bring your ID to the event. Please note that space is limited and seating will be made available on a first-come, first-served basis.   We strongly recommend arriving at 6:00 pm to ensure a seat. To register on facebook, please click open the link below http://www.facebook.com/event.php?eid=109482972420103#!/group.php?gid=55527159769 We look forward to seeing you on the evening of the 26th.

Elizabethan Settlement - 992 Words

Elizabethan Settlement After Elizabeth took the throne and became the ruling monarch of England she wanted to relieve the tension between the Protestants and the Catholics. Elizabeth decided on a compromise between the two religions, one that would have characteristics of both, this new religion was called Anglicanism. The factors that caused Elizabeth to make this decision were her personal religious preferences, the views of the Marian Bishops and the opinions given to her by the parliament. However this compromise did have consequences. These include the dissatisfaction from both Protestants and Catholics, The Vestiarian Controversy and the Catholic opposition the settlement. After the death of Henry in 1547, a 10 year old Edward†¦show more content†¦Elizabeth had also been told by the Archbishop of Canterbury (Matthew Parker) that the Anglican Book of Common Prayer had been ignored by ministers of the church. The tensions between the two religions were soon seen by Elizabeth as the country broke out into civil war. A consequence that came from the opposition of the Catholics was that the Catholics of England were starting to oppose Elizabeth as their queen; they saw Mary, Queen of Scots to be more suited to the throne. France, a Catholic country was seen as a threat as Mary, Queen of Scots had married a French prince and may team up with France to overthrow Elizabeth as queen. Spain at this time was also a threat its king, Philip II was an ardent Catholic who wanted to stop the spread of Protestantism. France and Spain were the two most powerful powers and were strongly Catholic, and the Catholics in England saw Mary, Queen of Scots as their hope of restoration of Catholicism to England, Mary also had a claim to the English throne which made her more of a threat. Another consequence of the Elizabethan settlement was the Vestiarian Controversy. Puritans were unhappy with the Elizabethan settlement as they saw too many Catholic elements in the settlement, they saw Anglicanism insufficiently protestant in both worship and beliefs. A major cause of this controversy was theShow MoreRelatedThe Factors That Shaped the Elizabethan Religious Settlement Essay2055 Words   |  9 PagesShaped the Elizabethan Religious Settlement When Elizabeth I was proclaimed Queen in 1558 a new era of religious tolerance began. With her religious settlement, Elizabeth had to consider a number of different factors. Without doubt, the most important task following her accession was to resolve the ideological divisions in the country brought about by the religious changes in the past three monarchs reigns. However, when deciding on her own religious settlement, ElizabethRead MoreSocial Work Case Study Essay1581 Words   |  7 PagesApple is in need of financial assistance to provide for her family. In this paper, I will address how the following concepts would handle the need of Ms. Apple, according to the Elizabethan poor laws of 1601, the Charity Organization,, societies, and the position of an Institutional and Residual Worker. During the Elizabethan poor law of 1601, a widow seeking assistance was not easily accommodated. In the event, a widow was able bodied she would be placed in a workhouse to provide for herself andRead MoreThe Elizabethan Era in England Essay1588 Words   |  7 PagesThe Elizabethan Era is often referred to as the Golden Age of England (A Changing View...). The Elizabethan Era, named after Queen Elizabeth I, was a time of change and discovery (Elizabethan Superstitions). Elizabeth ruled in a time of religious turmoil; both the Catholics and Protestants fought to be the official religion of England. (Elizabethan World View). Many people throughout England struggled to find the â€Å"correct† religion (Elizabethan World View). Religion was changing and so did scienceRead MoreFactors that Influenced Shakespeares Writing of Romeo and Juliet787 Words   |  4 PagesShakespeares play arises. Firstly, consider Religious Extremism versus the Elizabethan Settlement. Shakespeare is attacking neither the Catholics nor the Protestants. What he does condemn is the senseless and radical actions of youth in the play. In Romeo and Juliet, the older generation has evidently made peace and learned to live together, which resembles the principles of the Settlement. The families are still separate entities, but they have learned to live togetherRead MoreThe Elizabethan Er The Golden Age Of English History1527 Words   |  7 PagesJamie Berquist Carolyn Crumpler World History (E Block) March 13, 2015 The Elizabethan Era is depicted as the golden age in English history.   This age was marked as a renaissance which inspired English exploration, international expansion and naval triumph over England’s hated Spanish enemies ( Elizabethan Era.). Queen Elizabeth I was queen from 1558 until her death in 1603, marking the Elizabethan Era.   Her father was King Henry VIII, who ruled from 1509 until his death in 1547, and was succeededRead MoreFashion of the Times Essay1722 Words   |  7 Pagesclothing made by the Queen or for the Queen, nor did they wear the clothes straight off her back. The Elizabethan style, named after the Queen Elizabeth, is simply the clothing that came into style when she became heir. The original settlers of Jamestown, though under the reign of Queen Elizabeth’s cousin and heir- James I, the fashion they wore was still that of the Elizabethan era. During the Elizabethan Era, a law was instated called Sumptuary Law that limited the range of clothing the male and femaleRead MoreThe Church Of England Was Only A Half R1225 Words   |  5 Pagesreligion but, as said previously, she was the successor of two contrasting monarchs in terms of religion and she had to be careful as to how she was to implement her Protestant ideals without aggravating the Catholics, she wanted to appease. Elizabethan Religious Settlement was a clear indication of the direction in which Elizabeth was going. In 1559 Elizabeth passes the Act of Supremacy. The Act revived 10 acts which Mary had reverted, significantly clarified and narrowed the meaning of what constitutedRead MoreThe Elizabeth Poor Law824 Words   |  4 Pagesregulated local prices to help poor persons; gave in-kind assistance such a as food, clothing, and wood, provided health care; and removed children from abusive households’ and gave legal protection . Many local jurisdictions possessed â€Å"laws of settlement† that entitled people to receive local poor law relief after a year’s residence. The Elizabeth Poor Law, Act of 1601: were very important in the development of social welfare in North America because, of the migration of American settlers fromRead MoreHistory of Social Work1714 Words   |  7 Pagesprograms with significant historical changes occurring and a shift in religious and political views allowing these changes to benefit members of society and address social issues. Key events such as the Elizabethan Poor Law, the industrial revolution, the first charity organised society (COS) and the settlement movement were established mainly in the United Kingdom however similar models were then adapted in the United States and Australia. Pioneering members of society helped advocate for human rights,Read MoreElizibethan Religious Settlement Essay1952 Words   |  8 PagesElizabethan Religious Settlement The Elizabethan Religious Settlement was Elizabeth I’s response to the religious divisions created over the reigns of Henry VIII, Edward VI and Mary I. This response, described as The Revolution of 1559,[1] was set out in two Acts of the Parliament of England. The Act of Supremacy of 1559 re-established the Church of England’s independence from Rome, with Parliament conferring on Elizabeth the title Supreme Governor of the Church of England, while the Act of Uniformity

Themes of The Tempest - Free Essay Example

Sample details Pages: 3 Words: 965 Downloads: 5 Date added: 2019/10/30 Category Literature Essay Level High school Tags: The Tempest Essay William Shakespeare Essay Did you like this example? The Tempest is a play written by William Shakespeare, and has the many themes. Different versions of Power like Control,Disloyal, Forgiveness and revenge. In the play Shakespeare says Farewell Master (Act 2, Scene 2) this made me to believe that Caliban was a slave. Don’t waste time! Our writers will create an original "Themes of The Tempest" essay for you Create order Basically giving notice that Caliban didnt have any power. Caliban was under a spell Prosperos put on him so he basically did become a slave to him. Prosperos took advantage of him. This also indicates Caliban has a low title in the community because he obeys Prospero, but on the other hand listen to anyone but himself. So you can see whose title is higher than the others. This situation somewhat isstrates diversity in the play. Shakespeare doesnt give you false allegations of Calibans charter, initially the reader will assume that his status is low. He is weak and powerless because he is not honoured with a human shape ( Act 1, Scene 2) . Trying to down talk him basically compared him to animal. Saying he is beneath Prospero. This is how the illusion and magic theme basically starts because of the power Prospero put out to control Calibian into the inhuman slave. Shakespeare shows many ways how magic controls the entities. Although Prospero treats Ariel as a servant , and Caliban as a slave they still hold different positions in the chain. One of the main biggest themes in this play is hatred and revenge between everyone. Prospero came and took the island from Caliban. Which makes him infuriated and revengeful. In my opinion, Shakespeare uses the theme of hatred,continuously and especially here because it shows that Prospero uses hatred to mistreat Caliban and to show a comparison in the treatment between Ariel and Caliban. When the writer says lying slave it shows us Caliban is not trustworthy. This links to the character Ariel, as she owes Prospero and to repay him she offers herself to become his servant. The reason Ariel is in debt to Prospero is because he released her from a tree where Sycorax confined her, so she has no choice but to obey Prospero orders, however Caliban does not which shows the comparison between the two characters.. Additionally, it suggests that Ariel treated humanely and Caliban is treated the opposite way, contrasting the two characters. This links to the other themes present in the tex t, such as revenge and reconciliation because we can infer that Caliban and Prospero will try to conspire against each other or to usurp and take away each others authority. When Shakespeare says The isle is full of noises this makes the reader think the island is full of magical creature like Caliban, Ariel and much more. Calibans speech is extremely significant and compelling; largely because of how unique it is from anything he has said before. Caliban regularly describes the intrinsic worth of the island, but commonly these descriptions recount to the torments Prospero subjects him to. Shakespeare has done this to take the reader into a hypnotic dream world. Caliban is intoxicated when he gives this speech, and while it absolutely brings the audience to rapt attention, the speech does not do a lot to transform Calibans character and it also reveals a deeply tragic side of Caliban. His life on the island is so dreadful that he longs for the ethereal world of the noises that give him delight .In my opinion Caliban is telling Trinculo and Stephano not to worry however Caliban does not seem to know where the noises are coming from. The theme this links t o illusion and magic because magic and illusions are used to take the reader to a magical world. When Shakespeare says red plague rid you for language me your language! this makes the reader believe that Calibans relationship with Prospero and Miranda is not good. This speech, delivered by Caliban to Prospero and Miranda, makes clear in a very brief form the vexed relationship between the colonized and the colonizer that lies at the heart of this play. The son of a witch, conceivably half-man and half-monster, his name a near-anagram of cannibal, Caliban is an archetypal savage shape in a play that is much concerned with colonization and the controlling of untamed environments. Shakespeare has done this to show how Caliban use the language he was taught by Miranda. It is only a regular reminder of how he is dissimilar from Miranda and Prospero and how they have transformed him from what he was. In my opinion the writer does this to compare how they treated Caliban before and how they treat him now. This links to this theme change and transformation because we can see Calibans be haviour and attitude towards Prospero and how large his desire for freedom is. When the writer says I might call him a thing divine this makes the reader think Miranda is attracted to Ferdinand. Ferdinand and Mirandas type relationship shows Shakespeares ideas about true love, recognising not just the emotional side of love, but the physical nature as well. Shakespeare does to show how Miranda relationship with Ferdinand is different to Prospero. We can infer that Ferdinand is attract to Miranda because in Latin origin meaning worthy of admiration. In my opinion Shakespeares has done this to show the relationship between them. This links to theme like change and transformation because Miranda change when she met Ferdinand and how her love towards Ferdinand. When Shakespeare states that being once perfected how to grant it influences the readers belief that Prospero was once a respectable man with a high status before a previous event. The Tempest, like many of Shakespeares plays, has sustained to elicit a broad variety of scholarly interpretations and has eluded any conclusive judgements as to its dominant themes or the nature of its character.

This is Water Summary Essay Free Essays

Wallace delivered the Kenyon College commencement address that was not the typical commencement address you would normally hear at a graduation. He starts off his speech by telling a story having the idea that even the most â€Å"important realities are often the ones that are hardest to see and talk about. † He talks about living in the adult world that these soon to be graduates will enter and how it can be ere dull at times. We will write a custom essay sample on This is Water Summary Essay or any similar topic only for you Order Now And how learning about how to think about the choice we make in our life, the choices we make will impact our life whether it be a good impact, or a bad impact. Wallace delivers this speech (in a way to get these graduates not necessarily discouraged) giving the former students a face of reality that life is dull when you go through the same thing every day. And that when people go through the same thing â€Å"day in and day out† people tend to forget about the others around us. When forgetting about the other people around us occurs, Wallace believes that makes us believe that we are the â€Å"center of the universe. † This way of thinking as Wallace states is to be our â€Å"default setting† where we tend to block everyone our except for ourselves and if anyone gets in our way, then they must the ones at fault. Wallace also states, â€Å"if you really learn to pay attention, then you will know there are other options. † We have the choice to think of those other options, but we also have he choice to not think of those other options. Choosing the option to pay attention to the others around us and not be a â€Å"prisoner of our own brain† could possibly let ourselves live happier lives. Having awareness as Wallace stated, † Is unimaginably hard to do this, to stay conscious and alive In the adult world day In and day out. But, your education really Is the Job of a lifetime. † In conclusion, Wallace believes that we have choices to be aware of and to really think of the choices we make. How to cite This is Water Summary Essay, Essays

This is Water Summary Essay Free Essays

Wallace delivered the Kenyon College commencement address that was not the typical commencement address you would normally hear at a graduation. He starts off his speech by telling a story having the idea that even the most â€Å"important realities are often the ones that are hardest to see and talk about. † He talks about living in the adult world that these soon to be graduates will enter and how it can be ere dull at times. We will write a custom essay sample on This is Water Summary Essay or any similar topic only for you Order Now And how learning about how to think about the choice we make in our life, the choices we make will impact our life whether it be a good impact, or a bad impact. Wallace delivers this speech (in a way to get these graduates not necessarily discouraged) giving the former students a face of reality that life is dull when you go through the same thing every day. And that when people go through the same thing â€Å"day in and day out† people tend to forget about the others around us. When forgetting about the other people around us occurs, Wallace believes that makes us believe that we are the â€Å"center of the universe. † This way of thinking as Wallace states is to be our â€Å"default setting† where we tend to block everyone our except for ourselves and if anyone gets in our way, then they must the ones at fault. Wallace also states, â€Å"if you really learn to pay attention, then you will know there are other options. † We have the choice to think of those other options, but we also have he choice to not think of those other options. Choosing the option to pay attention to the others around us and not be a â€Å"prisoner of our own brain† could possibly let ourselves live happier lives. Having awareness as Wallace stated, † Is unimaginably hard to do this, to stay conscious and alive In the adult world day In and day out. But, your education really Is the Job of a lifetime. † In conclusion, Wallace believes that we have choices to be aware of and to really think of the choices we make. How to cite This is Water Summary Essay, Essays

Pete Rose Essays (641 words) - Major League Baseball, Baseball

Pete Rose Should a man who has over 4256 hits be kept from the Hall of Fame because he bet on a few baseball games? The hits leader in major league baseball is banned from baseball, does that make any sense? Pete Rose deserves to be in the baseball hall of fame because of his actions on the field, not off. To not have the all time hits leader not in the hall is total insanity. My personal opinion as you can already tell is that I think Rose should be in Cooperstown, NY. I think Pete should be in the Hall of Fame because of his outstanding stats, love and appreciation for the game, and for all that he could do for baseball if reinstated. Pete Rose was one of the all time greats in baseball even though he does not get recognized for anything that he does. Rose the 1975 Sportsmen of the Year is banned from baseball because of his alleged gambling on baseball games. Rose also was MVP of the world series for the Reds when they won in 1975. Rose never struck out more than 76 times in a season. His all time batting average is .303, while only striking out 1 in every 12 times up at the plate. Rose batted from both sides of the plate while he threw the baseball with his right hand. Pete has numerous records some which include: most seasons with at least 150 games played, most at-bats, and even most seasons with at least 200 hits. I think what really puts the icing on Petes cake though is that the city of Philadelphia gave him the ?living legend? award from the Philadelphia Sports Writers Association. If Rose is really a legend (which he is) then he belong with all the other legends in the Hall of Fame. Any athlete in any sport should appreciate what Pete has done. Every coach should hope that they have players who play hard, play the right way and respect the game. I think that's the way Pete played. With Roses hell bent, love of the game style he had a positive impact on players throughout the 24 years that he played. When you think of Rose you think of Charlie Hustle running out walks, hurling himself head first to take a extra base, and breaking the most vulnerable record in baseball- Ty Cobb's 4191 hits. When Pete was rudely interviewed by NBC's Jim Grey it only proved about how much of a personal man Pete Rose is by being very polite back to Grey after repeatedly saying that he did not bet on baseball. Pete Rose is a true character and without him the Hall of Fame is lacking. If Pete would be reinstated it would do wonders for the game just like mark McGwire and Sammy Sosa did in 1998. Pete Rose would bring back a character that alot of baseball has missed for many of years. Pete could be a great coach on any team and show the younger players all the ?tricks of the trade?. I think if Pete does not get into the hall of fame in the next 2-3 years then he will not get in until after his death. I can see Bud Seligh doing something that dumb: waiting until the best hitter that ever lived dies and then let him make the hall. One way or another Pete deserves to be let back into baseball and if he could come back it would benefit everyone. In conclusion, Pete Rose should be in the hall of fame for his on the field actions. Ten years is a long time. Even Charles Manson gets parole hearings, and Hall of Famers, as Rose points out, aren't all altar guys Finally, 4,256 is so many knocks that without Rose the Hall of Fame ought to have a big asterisk on its front door. Pete deserves what he has earned so why dont Bud Seligh just give it to him. Sports and Games

Perception of Women in Advertising Research Paper Example

Perception of Women in Advertising Research Paper Example Perception of Women in Advertising Paper Perception of Women in Advertising Paper Advertising Print advertising often portrays females as sex objects. Women are used through sex appeal to sell products that may attract males. An issue that results in this method of advertising could result In violent sexual acts that enable violence against women. The provocative clothing that women where In print ads encourage no respect from males because the women themselves are not respecting their bodies privacy. Women seek to be treated as more than sex objects, but males view these ads and e the way females are presenting themselves through the media. Media has changed over the years and is now hooked on this idea that sex appeals to young adults. They use it in commercials, advertisements, magazines and even TV shows. Sex In advertising is pornographic because It dehumidifies and objectifies people, especially woman and because It fetishists products, Imbues them with an erotic charge which dooms us to disappointment since products never can fulfill our sexual desires or meet our emotional needs (Kilojoules 594). We go out and get push up bras because theyre sexy and will make your boobs look better, but one must think does that really make us feel better having all that padding. Maybe under a shirt it looks good but it doesnt meet our emotional needs. One may make the counter argument that advertisements arent what Is causing the sexual Identities of men and women to come closer but that popular culture such as music and movies are the culprit. How the makers of the movies and music we listen to appear has a great effect on what we find desirable. It is popular culture that has the major influence on our society, not advertisements. Axe shower gels aid is one example of how advertisers portray as a sexual object women. As one examines the ad the first thing that catches ones eye would be the girl basically naked but she has whip cream covering her chest. Then the eye travels to the guy taking a shower and using axe shower gel. One would move on to the ads slogan which states The cleaner you are, the dirtier you get. The last thing that catches the eye would notice which is under he slogan which axe states that their formula is new and improved. Advertisements are everywhere. Whether youre watching television or reading a magazine, an advertisement is sure to pop up somewhere. The ad is aiming to sell Axe shower gel for men. It Is telling men If they use their product It will make them cleaner. Therefore, making them cleaner leads to them being dirtier In the bedroom. Glenn guys the expectation that because they smell nice they will take someone home, and when they dont theres disappointment for not meeting our sexual desires. Through this advertisement, Axe is promoting idea that they can help a straight young male out his lady problems with stereotypes and body wash which makes this a false leading advertisement. In the past few years, anta-advertising activists have taken to ten streets t II really. In Washington, Tort example, a Tenements group called women Fighting Back has slapped a sticker on the Cool-ad reading, Keep your ads off my body (Clark). People are fighting against the media and saying its not okay to sexually exploit everything. Although there are some people who Just dont care about their bodies being used as advertisement. According to Clark, Advertising experts have long recognized that individual elements of ads often become more important than the placement of the product. Ads depict who uses the product, how a family looks, what is beautiful and the roles played by men and women. Thats why blacks and women get upset over certain ads, says Duke University Professor William M. Barbara (Clark). This is so true because half the time when we watch these articles e remember the sexy thing the girl did instead of the product or the guy taking his shirt off. No one is really worrying about the quality of the product Just the status it will give them. There are so many issues revolving around the media but their almost unsolvable. One needs to turn around something that is so unfortunately socially acceptable. Sex does sell and our generation is so use to it. If it didnt work the products that use it the most for instance Axe wouldnt be so successful.

How Great Writers Develop the Theme of a Story - Freewrite Store

How Great Writers Develop the Theme of a Story - Freewrite Store What is the theme of a story? Today’s guest post is by  Matt Grant.  Matt is a Brooklyn-based writer and editor.  His  work has appeared in  Literary Hub,  Book Riot,  HuffPost, and  BookBrowse.  Find Matt  online, or follow him on  Twitter  and  Facebook.       For many writers, upon hearing the word â€Å"theme,† our eyes tend to glaze over and our mouths grow slack-jawed. The word may set off flashbacks to high school English, in which teachers forced us endlessly analyze a story’s theme, images, and motifs when all we wanted to do was enjoy the writing and the characters. â€Å"Can’t a story just be a story?† we might have cried out as we did our homework, shaking our fists at the heavens. Whether we like it or not, the idea of themes in literary compositions is ubiquitous and is certainly not going anywhere. But rather than something to be wary of, developing a strong theme in your work can actually set it above the rest. In her 2000 â€Å"Writers on Writing† article in the New York Times, Pulitzer-Prize nominated novelist Diane Johnson says the term â€Å"theme† â€Å"Seems like a holdover term from high school English class, useful for discussing novels, but not very relevant to the process of writing them. There's something too close to ‘thesis’ about it; the idea of imposing a preconception is anathema to a novelist who likes to imagine she is observing life and manners without any didactic intention and without forcing her characters to follow a plan.† And yet the best writers embrace themes in their work and throw themselves headlong into crafting one. This is because every writer makes his or her writing about something, intentional or not. That something, the essence of the story, is its theme. What is the theme of a story? Don’t let the academic-sounding term throw you off. The â€Å"theme† of a story simply refers to its main topic or central idea. This can be as simple as monosyllabic words like â€Å"love,† â€Å"friendship,† â€Å"family,† â€Å"revenge,† or â€Å"loneliness,† or as complex as â€Å"man versus machine,† â€Å"coming of age,† â€Å"the toxicity of nostalgia,† or â€Å"the danger of unchecked ambition.† â€Å"I suppose the major theme of a given work is the sum of all its ideas,† Johnson writes. â€Å"That's implicit in those joke contests on the Internet about Merged Novels, in which people compress the essence of two books into one, like ‘The Maltese Faulkner.’ (‘Is the black bird a tortured symbol of Sam's struggles with race and family? Or is it merely a crow, mocking his attempts to understand? Or is it worth a cool mil?’) Or ‘Catch-22 in the Rye.’ (‘Holden learns that if you're insane, you'll probably flunk out of prep school, but if you're flunking out of prep school, you're probably not insane.' But every novel is a ‘spongy tract,’ as E. M. Forster put it, a tissue of ideas so dense and various it would be impossible to tease them all out.† Luckily, you don’t need to tease all of your ideas out, just the major ones. Whether you like it or not, your story has a theme, because all stories ultimately have one major idea. This is because we as writers are fueled by ideas. â€Å"Of course a writer, like anybody, has a set of general ideas: the inhumanity of man to man or that life is a struggle, or that nature is beautiful,† Johnson writes. â€Å"Some of the ideas will be received ideas; some may be original or idiosyncratic or even suspect, as was said of Ayn Rand's, for instance, or some of T. S. Eliot's, or Pound's. Taken together, a writer's themes are thought to typify the writer despite him- or herself, except for protean geniuses like Shakespeare, invisible in the dense thicket of their contradictions.† Whether or not you invest time and energy in developing and thinking about your theme is up to you, but your story will only be improved if you do. The stronger a story’s theme, and the more attune with that theme the writer is, the better the story. Identifying the theme Before you even begin work on your novel, you should identify what your story’s theme is. Ask yourself what, underneath all of your plots and subplots, your characters and your descriptions, your story is really about. Is it a story about how love conquers all? Is it about the complicated relationship between mothers and daughters? Good versus evil is a common theme. Is your story about how evil never triumphs and good always wins? Is it about how evil triumphs despite good? Any of these make excellent examples of themes. Of course, your story may have more than one theme. But you should at least identify one â€Å"main theme,† or major idea, that your story will focus on. It may also help to identify the â€Å"spine† of the story, or the main narrative thread. The spine is usually just one sentence that summarizes what the story is mostly about. This will help you retain your central idea throughout the work and prevent you from getting sidetracked by subplots, secondary characters, and long passages that don’t relate. For instance, for a book like The Great Gatsby,the spine might be â€Å"a wealthy American tycoon in the Jazz Age discovers that money can’t buy happiness,† and the theme might be â€Å"The decline of the American dream.† These might sound like oversimplifications. That’s okay. The theme is supposed to be a simple summary of your story’s main point. Once you have your theme and spine identified, try to find all of the ways your characters and your plot connect to that theme, both implicitly and explicitly. Which scenes relate your theme through your main  character’s interactions? How do your description and your settings bolster the theme? Everything that doesn’t, in some way, connect to your theme is worth considering whether it should be included at all. How to build a theme The question then becomes how, exactly, do you build a theme into your work? Other than your characterization, the main way is through motifsand symbols. Taken together, these three things are powerful tools when it comes to making sure your theme is easily understood and constantly present in your story. Let’s look at each one in turn. A motif is a recurring structure, symbol, or literary device that helps develop and inform your theme. The more a motif turns up in a story, the more prominently it will factor into your theme. For instance, taking The Great Gatsbyas an example once again, some of its motifs include geography (the East Coast represents decadence and cynicism, while the West represents more traditional, straightforward â€Å"American† values) and the weather (the changing weather patterns reflect the shifting tone and mood of the characters and the story).   A symbol, on the other hand, is an image, a character, an object, or figure that represents something beyond whatever is just on the surface. At the end of the first chapter of Gatsby,the narrator, Nick Carraway, observes Jay Gatsby emerging from his mansion at night. Carraway considers calling out and introducing himself, but thinks better of it: â€Å"I didn't call to him, for he gave a sudden intimation that he was content to be alone- he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward- and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness.† This green light makes several appearances during the novel, most notably again at the very end: â€Å"Gatsby believed in the green light, the orgastic future that year by year recedes before us.† Clearly, the light resembles something more than just a green light. It represents Daisy, who in turn represents Gatsby’s unattainable American dream. Further, green is the color of money and envy, two things that Gatsby struggles with throughout the novel. The light is a symbol, deepening the story’s themes. So, a series of recurring symbols (rain, light, color, etc.) build into a motif(the weather, geography), and a series of motifs build into a theme (the decline of the American dream). How themes relate to character In addition to symbols and motifs, your characters are your biggest avenues for relaying your theme to your readers. Characters can represent different aspects of a theme, or in some cases, represent the theme altogether. We’ve already shown how Daisy represents the American dream to Jay Gatsby. She is a full character herself, the target of his romantic ambitions. But just as their relationship is doomed from the start, Daisy also represents an aspect of American life that will forever remain unattainable to Gatsby. Characters can also have discussions, thoughts, and behaviors that relate to the theme without expressly representing the theme themselves. Nick Carraway is a narrator, and yet it’s through his eyes that we see Gatsby’s symbolic green light analyzed. But Nick himself also wrestles with being drawn into the glamorous life of the West Egg nouveau riche. The attractive and â€Å"incurably dishonest† Jordan Baker tantalizes him. So even as a seemingly â€Å"secondary† character, Nick Carraway mirrors Gatsby’s theme of the lure of the American Dream. In addition, Johnson insists that the writer herself will influence her characters. Your themes will always reflect a part of who you as a writer are. â€Å"Can the novelist entirely control the ideas in her text, or conceal herself among them?† she asks. â€Å"There's the phenomenon well known to writers whose characters, given their head, take off and do or say things the writer did not foresee. The writing has a Ouija board will of its own. On the other hand, there are the covert operations of your own character your personal obsessions, perhaps that ordain that, however you start out, you end up with the sort of novel only you would write. (Obviously, these two are functions of each other: the unexpected crops up out of some less conscious realm of your self.) There's age, birth order, geography. Nationality is certainly part of the imperatives of our natures, something that we can't help and that has programmed us.† Working with multiple themes A story will often have more than one theme, especially if it’s a novel as opposed to a short story. Short stories, due to their length, tend to only have one major theme, while a longer novel has time to elaborate on several themes at once. To return to our example, The Great Gatsbyhas several themes. In addition to the decline of the American Dream, there are also the themes of â€Å"money doesn’t buy happiness,† and â€Å"the allure of forbidden love.† It’s fine for your story to have multiple themes, just be careful of giving it too many. â€Å"Too many themes and the novelist risks committing a ‘novel of ideas,’ a term that can conceal a note of reservation,† Johnson writes. â€Å"As a phrase, ‘novel of ideas’ is gathered from what seems now a somewhat dated typology used to categorize all novels as ‘of ideas,’ or as comedy of manners, or action, romance and so on, depending on the general effect. These were also shorthand ways of saying serious, boring, comic, moving account of personal anguish, love story, etc.† What the author wants to avoid is the appearance of â€Å"moralizing† or proselytizing in a story. Your theme will relate your own beliefs and worldview, but it’s not a moral. If the reader thinks that all you’re trying to do is convince them of your way of thinking rather than just telling a good story, they’ll run for the hills. Themes must be intentional Building a theme doesn’t happen by accident. F. Scott Fitzgerald clearly thought long and hard about the themes and symbols he wished to infuse into The Great Gatsby,and the result is one of the best examples of modern American literature. Finding your theme will take time and effort, but it will be worth it in the end. If you try to think of your theme before you start writing and you can’t, that’s okay. Don’t get so caught up in theme that you neglect good storytelling. Sometimes, your story’s theme won’t be apparent until you’re several drafts in. That’s okay, too. As a general rule, you should focus on the story first and then worry about the theme. â€Å"Novels are never about what they are about; that is, there is always deeper, or more general, significance,† Johnson writes. â€Å"The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.†       Which themes do you find most compelling? How have you worked themes into your novels? Let us know in the comments!    Matt Grant  loves to write about writing, business, and all forms of popular  culture – books, film, and television. Matt started writing DVD reviews for  Pop Matters  in 2012, and in 2016, he followed through on a life-long dream by launching a part-time writing business at  www.mattgrantwriter.com. Since then, Matt’s work has appeared in  Literary Hub,  Book Riot,  HuffPost, and  BookBrowse,  and he has several ongoing clients.  His first personal essay,  Swimming Lessons,  is being published in LongReads at the end of August. Matt is also currently hard at work on his first novel, a comedic take on fantasy tropes for young adults. When not writing or reading, Matt works in youth development as an after-school program director  for one of the largest middle schools in Manhattan. Matt lives in Brooklyn with his wife, Katelyn. You can find him online at  www.mattgrantwriter.com, on  Twitter  @mattgrantwriter, and on Facebook  @mattgra ntwriter.

To What Extent Does the Principle of Good Faith Play in English Contra Research Paper

To What Extent Does the Principle of Good Faith Play in English Contract Law, and French Contract Law - Research Paper Example In this context, Collins (1994, 230) stated that â€Å"the traditional solution for international transactions invokes the choice of law rules of private international law; under these rules, now codified by the Rome Convention, the parties to a contract are free to select the governing law, and in the absence of an express choice, the default rule applies the law which is most closely connected to the transaction†. In other words, the law applicable in a specific contract is decided primarily by the parties of this contract and only in cases that no special provision exists, then this issue is resolved directly by the relevant legal provisions referring to jurisdiction in cases of international transactions. The examination of the validity and the content of a contract has been traditionally an issue of primary importance for countries of civil law. For common law countries, the above issues are also extensively examined by the courts. In this context, the study of Beatson et al., (1997, 14) showed that â€Å"once the contract passes the test of initial validity, the control of its terms on the ground of unfairness becomes problematical since it is in direct conflict with the notion of freedom of contract; nevertheless, the law has for centuries possessed tools that could be utilized in order to exercise such control, notably the doctrine of public policy and the equitable rules against penalty and forfeiture; the doctrine of good faith provides another important tool for the control of contractual terms and their application; the doctrine has long been recognized by continental law; recently it has been gradually absorbed by a number of common law jurisdictions†. In accordance with the above researcher, the doctrine of ‘good faith’ is not broadly used in common law countries but only in cases where its application is inevitable taking into account the circumstances of a specific country and the behaviour of the parties involved. As pointed out by Summers (1968, 198) ‘Without a principle of good faith, a judge might, in particular cases, be unable to do justice at all, or he might be able to do it only at the cost of fictionalizing existing legal concepts and rules, thereby snarling up the law for future cases; in begetting snarl, fiction may introduce inequity, unclarity or unpredictability; in addition, fiction can divert analytical focus or even cast aspersions on an innocent party’.     

Terrorism Response Strategy Essay Example | Topics and Well Written Essays - 1250 words

Terrorism Response Strategy - Essay Example When the preparatory actions are completed, the squad is ready for action. Since the toxins are unknown, the squad must wear the proper protection, i.e. PPE (personal protective equipment) lv.1 or A. This is the maximum level of protection. PPE can be used for site surveys, for emergency rescue, hazardous mitigation, and decontamination and for monitoring or supervising situations. There various levels of PPE depending on the situation. Level A PPE consists of vapor protective suit with pressure demand, full-face mask, inner chemical-resistant gloves and chemical resistant safety boots. This provides the best protection for eyes, skin and lungs from solid, liquid and gaseous material. Since there are bio-toxins involved, one has to add oxygen tanks to the suit, to avoid inhale outer air.Here now begins the scouting in the bomb site. The first objective of the scouting is not to find injured persons or forensic evidence, but to find a secondary exit point. This is very important if th ere is secondary explosion, or another disaster like a building falling, etc. Sampling is a very important step to determine what type of toxins if present. The step is to determine is the air is free from chemicals, by taking preliminary tests. The protocol is fast and easy to perform. A sample is first collected on two chemically treated swabs provided with the kit then each swab is immersed in a solution that produces a color change within five minutes only if the agent being tested for is present.... Here now begins the scouting in the bomb site. The first objective of the scouting is not to find injured persons or forensic evidence, but to find a secondary exit point. This is very important if there is secondary explosion, or another disaster like a building falling, etc. Sampling is a very important step to determine what type of toxins if present. The step is to determine is the air is free from chemicals, by taking preliminary tests. The protocol is fast and easy to perform. A sample is first collected on two chemically treated swabs provided with the kit then each swab is immersed in a solution that produces a color change within five minutes only if the agent being tested for is present. Then one has a sheet to compare the results and see what type of toxins is present in the air. Simple triage identifies which persons need advanced medical care. In the field, triage also sets priorities for evacuation to hospitals. Deceased are left where they fell, covered if necessary; note that in S.T.A.R.T. a person is not triaged "deceased" unless they are not breathing and an effort to reposition their airway has been unsuccessful. Immediate or Priority 1 (red) evacuation by MEDEVAC if available or ambulance as they need advanced medical care at once or within 1 hour. These people are in critical condition and would die without immediate assistance. Delayed or Priority 2 (yellow) can have their medical evacuation delayed until all immediate persons have been transported. These people are in stable condition but require medical assistance. Minor or Priority 3 (green) are not evacuated until all immediate and delayed persons have been evacuated. Continue to re-triage in

The Concepts Of Participation In Governments Politics Essay

The Concepts Of Participation In Governments Politics Essay Participation is a concept that has been continually contested within the academic literature. The term has sparked a lot of debate and become an important concept relating to democracy and justice. Participation has been characterised as a vehicle for enabling citizen interaction and citizen power. Cornwall (2008) has described participation as a malleable concept, suggesting that the concept can denote itself to any situation in which people are involved. This however has created a significant limitation for the applicability of participation in natural resources management. Passive participation has increasingly become more evident within environmental management through processes such as tokenism and consultation. The following essay will examine and critically evaluate the different typologies of participation. Due to the variety of typologies proposed within the literature, only the frameworks proposed by Sherry Arnstein, Jules Pretty and Sarah White will be critically evaluate d. Environmental examples of participation will then be illustrated in order to determine the extent to which participation as a malleable concept is a strength or limitation for natural resource management. Sherry Arnstein provided one of the first models of public participation. Arnsteins Ladder of Participation was published in 1969, and sought to summarize the context of American public planning at the time (Bishop and Davis, 2002). Public participation and power sharing during this time consisted of an us and them approach (ref). At the centre of this philosophy, the ideals of democracy were broken. Arnstein suggested that power had not equally been distributed amongst all members of society (ref). As a result, Arnstein advocated for a framework in which the planning process adequately took into consideration the ideals and opinions of public citizens (Hayward et al., 2004). Arnsteins model comprised of a ladder, which metaphorically denoted levels of citizen participation. Each ascending level of the ladder, described as rungs, characterised a level of influential power citizens could have within the planning process (Arnstein, 1969). Arnsteins ladder ultimately consisted of eight rungs, therefore, describing eight typologies of participation. At the bottom of Arnsteins ladder is Manipulation. Arnstein described this level of participation as an unauthentic form of citizen participation. At this level of the rung, power graspers such as politicians were considered by Arnstein to deform the processes of public relations (Litva et al., 2002). Arnstein suggested that citizens were often placed on advisory boards with the purpose of authorities attempting to educate them about particular issue (ref). Arnstein believed that this level of participation was somewhat illusionary, in the sense that minority groups were often targeted and manipulated by power holders (ref). Much of the decision making powers still remain within the hands of authorities, and ethnic groups or special interest groups were simply forced to comply with the decision that had already been made (Whitman, 1994). The next rung on Arnsteins ladder is a form of participation labelled as Therapy. Therapy is advocated by Arnstein as another form of illusionary ci tizen participation. Arnstein suggested that authoritarians such as mental health experts, social workers and politicians view those as powerless as mentally incapable (Shier, 2006). Therefore, making citizens engage in sessions of therapy and reform. Arnstein suggested that what made this form of citizen participation illusionary is that an extensive amount of spotlight is placed on curing citizens of their existing perceptions or opinions (McDonald, 1988). Less effort is focused on changing the power struggles that exist within societies which shape the current perceptions and opinions evident within specific classes of people (ref). Infroming is the next rung on Arnsteins Ladder. Arnstein characterised this level of participation as a way of legitimizing public participation through informing people of their rights and responsibilities (ref). However, more often than never, the flow of information had predominately focused on officials providing citizens with information through the use of various media, newsletters and reports (ref). This one way flow of information often did not provide citizens with an opportunity to voice their concerns, or provide officials with any feedback (ref). Therefore, ultimately decreasing the level of influence citizens are able to exert upon planning projects. The fourth rung on Arnsteins Ladder is Consultation. This is arguably the first instance in which the concept of consultation had been used within a planning context (ref). To further legitimize the process of public participation, Arnstein suggested that the opinions of citizens needed to be taken into account (ref). Meetin gs, public hearings and stakeholder reports had become the most common forums for enabling consultation amongst specific groups of people. Consultation consists more of just asking citizens about their views. The process is only valuable if further work is undertaken to adequately change policy structures in order the meet the needs of citizens (ref). Genuine consultation would therefore, consist of systematic meetings which can provide an open loop of communication for both authorities and citizens (ref). The Partnership rung on Arnsteins Ladder portrays the redistribution of powers amongst citizens and authorities. Ideally, at this level of participation, the ability to make decisions is left in the hands of both the public and private sector (ref). Partnership can be seen to effective when the citizens themselves are equipped with resources and finances. This can help community groups to barter with politicians and allow citizens to have an influence over project plans (ref). Citizen power increases further up Arnsteins ladder, with Delegated Power being a form of participation where citizens dominate the decision making process (ref). In this instance, the public would have assumed full responsibility and power over a specific project or plan. Such a circumstance is often reached when the public themselves hold significant trump cards, and are prepared to take full accountability for the outcomes of a particular programme (ref). The ultimate form of citizen power is characterised b y Arnstein as Citizen Control (more). Arnsteins Ladder provides a good explanation of the interactions between citizens and authorities. Though simplistic, the model has become an influential pillar within debates surrounding participation. Arnsteins metaphorical depiction of participation as power has influenced policy processes across the globe. Participation as evolved as an important mechanism for stakeholder engagement and community involvement (ref). Since the publication of the model in the late 1960s, many criticisms regarding Arnsteins typologies of participation have arisen (Lane, 2005). Arnsteins typology attempts to highlight the differences between the powerless and the powerful. It has been asserted that Arnstein does not consider the obstacles which may become apparent in achieving different levels of participation (Arnstein, 1969; Collins and Ison, 2006; more). Arnstein (1969) has suggested that there are obstacles that need to be overcome by both the citizens and the authorities. Authorities for instance need to overcome obstacles such as racism and be willing to shift the scales of power (Arnstein, 1969). Citizens in contrast need a knowledge base and resources to facilitate a strong and collective standing within society (Arnstein, 1969). Critics have also suggested that Arnsteins ladder may not be a realistic representation of participation (Tritter and McCallum, 2006). Arnstein categorised participation into eight rungs. In the real world however, there may be several more levels of participation occurring within society (Arnstein, 1969; Collins and Ison, 2006). Furthermore, the boundary between each category of participation may not be as distinctive as a step on a ladder (Arnstein, 1969). Tritter and McCallum (2006) have also suggested that Arnstein assumes that a hierarchical element exists within participation, which is in fact untrue. Arnsteins model suggests that citizen control is the ultimate goal for participation. Arnstein has neglected the possibility that often citizens may take part in the decision making process for a range of reasons. Arnsteins Ladder implies that if citizen control is not achieved, then there is an apparent failure within the participatory process (Tritter and McCallum, 2006). Bishop and Davis (2002) suggest that this linear relationship between the levels of participation suggests a false sense of notions with regard to policies. As Bishop and Davis (2002) argue, Arnsteins Ladder suggests that variations only occur between the parties engaged with participation, and the policies that exist within societies remain constant and uninfluential. Arnsteins framework ultimately does not place any emphasis on the importance of communication, fe edback loops or the different perceptions that shape peoples views on a particular situation (Tritter and McCallum, 2006). Nonetheless, Arnsteins Ladder provides us with the image that participation has contrasting degrees and levels within a planning context. It is therefore important to examine and understand other models of participation that are evident within the literature. Pretty (1995) has suggested that the concept of participation has different meanings for different groups of people. Pretty (1995) has put forward a more comprehensive framework to characterise participation. Prettys typology of participation consists of both detail and critique (Juarez and Brown, 2008). Pretty conceptualises participation within a local context, and takes into consideration the distributions of power and interests of stakeholders. Therefore, in theory, Pretty intends to offer different interpretations with regards to the concept of participation (ref). Pretty has developed a framework of participation that distinguishes between seven typologies. The first of these types is Manipulative Participation. In this typology, citizens have no decision making ability or voice (ref). The voices of citizens are often undermined, and the flow of information and communication is exclusive to a group of professionals (ref). The second typology is Passive Participation. Within this typology, authoritarians will often announce plans of a project or the outcomes of decisions that have already been established. Citizens only participate by being told about what has already been decided by the authorities (Juarez and Brown, 2008). Participation by Consultation is the third typology identified by Pretty. In this form of participation, citizens are consulted with by authorities (ref). Pretty notes that within this type of participation, professionals, experts and authorities will agree to hear the views of citizens and other interest groups; however, t here is no obligation for these views to be ultimately taken on board (Pretty, 1995). The fourth typology identified by Pretty is Participation for Material Incentives. Citizen participation is more active within this typology. Citizens participate by contributing resources or time in exchange for other material objects (ref). Pretty uses the example of farmers, whose fields and labour are used by experts during experiments or trials. The farmer however, remains inactive with regards to the project or programme. Yet, the farmer is still considered to be participating. Pretty acknowledges that once incentives are ended, the likelihood of any participation continuing decreases (ref). Functional Participation is described by Pretty as citizens forming groups in order to specific objectives of a project or plan (Pretty, 1995). Citizens once again only participate once all major decisions have been made by the professionals or experts. Local action is however, initiated by these citizen groups, therefore activating the practices and structures within neighbourhood communit ies (Juarez and Brown, 2008). Interactive Participation is where citizens venture in joint analysis. Pretty defines interactive participation as when multiple methodologies and several objectives are synthesized to create a common goal or understanding (Juarez and Brown, 2008). In this form of participation, citizens are given the power to maintain the practices and structures established within communities (ref). The last typology identified by Pretty is Self Mobilisation. In this, citizens are active participants, taking initiative to make changes independently to any external institution or group of experts (Pretty, 1995). Collaborative actions by citizens strengthen community bonds, as well as challenging any existing inequalities in power distributions (Pretty, 1995). Prettys classifications appear to cover most of the relevant forms of participation. Several limitations however are evident within Prettys description. Pretty suggests that low level of participations are enforced by external actors. Passive participation for instance, does not only occur in instances where people have been told what to do (ref). The participants themselves can increase the likelihood of passive participation due to significant shortages in their own resources (ref). For instance, citizens may lack a sound knowledge base about a particular issue. Therefore, even a well intended and interactive project may still fail due to insufficiencies on the part of citizens (ref). This further suggests that in some cases, a lack of participation cannot always be blamed on external actors or the design of a programme. Thus, the context in which participation occurs is a sensitive and significant variable to take into consideration (ref). Prettys typology also consists of several overlapping classifications. This makes it difficult to grasp a complete definition of participation as each typology is connected to the next (ref). For instance, the idea of manipulation is not exclusive to Prettys Participation through Manipulation typology. Manipulation is also manifested within other typologies such as participation for material objects or functional participation (ref). Pretty also assumes that a minimum amount of participation is occurring within each level of typology. This is problematic analytically. Pretty perhaps intended to only consider a framework in which participation is considered. In doing so however, a typology of non participation is lost in analysis. It had been argued that manipulation can be considered as a form of non participation (Hart, 1992 cited in Pretty, 1995). This however is problematic as even a small amount of participation can still influence the decision making process, making it impossibl e for non participation to occur (ref). Both Arnsteins and Prettys typologies are normative in nature, suggesting that the ideal form of participation is only located at the end of a specific spectrum (ref). These two models highlight the subtle effects of political affairs that are embedded within the participation debate. Questions surrounding control and power arise from participatory typologies, thus making it important to consider the underlying politics surrounding participation (ref). Whites (1996) typology of participation starts to deal with issues, and begins to consider the various stresses actors engaging in participation experience. Whites typology of participation is more complex. The framework used by White explores the many dimensions and interests involved within the process of participation (White, 1996). The identities, context and interests of both individuals and groups are also explored throughout the typologies (White, 1996). Whites typology of participation is separated into categories in which one can easily identify situations where opportunities are created, or power distributions are established (White, 1996). Whites framework is complex, thus is it important to note that participation itself is characterised as a dynamic process which does not remain constant (White, 1996). White suggests that circumstances of conflict and tension arise when one set of goals or ideas are prioritised over another, mirroring the power relations that underline the processes of participation (White, 1996). Whites framework of participation is divided into four types. The first of these is nominal category participation. Within this typology, participation is considered as a form of information sharing and participant contribution in a project. This form of participation is ideally functional in form, and acts to also legitimize external actors (Ref). Consultation is also highlighted in Whites typology within instrumental participation. In this form of participation, White suggests that consultation is practised and utilized by external parties to create efficiency (White, 1996). Citizens however, see this form of participation in terms of a cost, as their contribution to a programme results in a sense of lost opportunity for the citizens themselves (ref). In representative participation, White sees participations as active decision makers. This form of participation gives a voice to the participants, allowing them to influence the outcome of projects and promote sustainability (White, 1996). Active and dynamic participation ultimately leads to Whites last category: transformative participation. This form of participation sparks self mobilization, allowing participants to assertively find the solutions to their own problems (White, 1996). Overall Whites model is particularly useful in identifying the costs and benefits different groups of people experience with different forms of participation. There is however some limitations also associated with Whites conceptualization of participation. Ref has suggested that Upon analysis of the different typologies it is evident within the literature that Arnstein, Pretty and White have all contributed towards the concept of participation. The concept however, still remains largely unknown within the literature despite the contribution of these academics and more. Cornwall (2008) has suggested that because of this, participation has become embedded with an element of malleability, allowing it to mean different things to different people, in different places. The conceptual origins of participation have been rooted in a planning and political context. Ideas however, such as collective action, consultation and shared decision making have subsequently spilled over into an environmental management context. Natural resources are often at the centre of social tensions and conflict within communities. Such settings involve the presence of several actors all attempting to influence the many decisions associated with natural resource management (ref). The academic literature surrounding natural resources management has suggested that community members and stakeholders are often unable to contribute towards environmental decisions (Rowe and Frewer, 2000). Typically within natural resources management, scientists have primarily been identified as experts within the community, and have controlled the flow of information in the context of policy development (Jasanoff, 1994).This has been argued by some academics as problematic, suggesting that the views and opinions of the ordinary citizen may be influential for environmental management (Stirling, 2006). Cortner and Shannon (1993) has therefore, suggested that participation can be utilized as a vehicle to engage with public expression, and increase the transfer of knowledge and deliberative democracy (Stirling, 2008). Participation has been recognized as an important mechanism in achieving optimum environmental outcomes (Collins and Evans, 2002). Through participation, perspectives, v alues and opinions of different stakeholders and citizens can be identified and incorporated into environmental objectives (Cortner and Shannon, 1993). Participation within natural resource management can provide opportunities for stakeholder meetings and public consultations, increasing the scope of opportunity for non experts within the community to shape environmental decision making (Landy, 1993). Participation can therefore, be seen as a forum within which local knowledge, values and norms are integrated with conventional scientific knowledge. As illustrated above, the concept of participation is one that is malleable. Various forms of participation have been characterised by academics, leading one to believe that there is no one correct way of describing such a process. Several examples within the environmental literature highlight the malleability of participation. Increases in the adoption of local knowledge and collaborative management initiatives are all evidence of participatory methods in resource management. Kakadu National Park for instance is a primary example of where the integration of local knowledge in environmental management has been achieved through participatory methods (Hill and Press, 1993). During the 1960s a partnership was enacted between the indigenous community and non indigenous community of Australias Northern Territory to manage the Kakadu National Park. The area had been classified as a World Heritage site; therefore territorial environmental management objectives were promptly established to p rotect the areas archaeological heritage (Hough, 2009). Tension and conflict however arose when government officials attempted to solely manage the regions of the park. Approximately 50% of the park was within Aboriginal territory, therefore, local communities swiftly petitioned to become involved with the decision making process (Lane, 2001). The sustainable practices associated with the local Aboriginal communities, coupled with thousands of years of local knowledge led authorities to pursue joint management of the area (Hill and Press, 1993). Interchangeable and transferable knowledge from both scientists and the local communities were collated to establish management objectives for the native flora and fauna located within the regions of the park (Howitt, 2003). The national park today is managed by traditional Aboriginal members and the Australian National Director of Parks (Hill and Press, 2003). Participatory methods are also evident within New Zealand through collaborative management approaches. The Environmental Performance Indicator (EPI) project was established as New Zealands first indigenous sustainable monitoring programme (Jollands, 2006). Jollands and Harmsworth (2008) note that Maori people are an important community within New Zealand, owning both a considerable amount of the countrys resources, as well as holding a strong political standing in comparison to other ethnic groups. Various international and national obligations have driven the need for Maori participation in New Zealand environmental management (Jollands and Harmsworth, 2008). Internationally, declarations such as the Draft Declaration of Rights for Indigenous People (United Nations, 1993) and the Declaration on the Health and Survival of Indigenous Peoples have driven the need to foster indigenous practices and beliefs (United Nations, 2002). Within New Zealand, internal drivers such as the Treaty o f Waitangi have also supported the recognition of indigenous rights (Jollands, 2006). The Treaty of Waitangi provides the foundation upon which bicultural ties and partnerships in New Zealand are established (Orange, 1990). The EPI project was established by the Ministry of Environment as a way of incorporating Maori knowledge into environmental monitoring. For many years, Maori people have had an intrinsic relationship with the natural environment (Barlow, 1991). As Harmsworth and Tipa (2005) note, Maori have had a specific perception on environmental management, consisting of stewardship and holism. Such a framework has assisted Maori people in developing interpretations of the environment that help facilitate their practices and beliefs surrounding environmental use, degradation and sustainability (Jollands and Harmsworth, 2008). The EPI project was conceived as an opportunity for Maori to contribute towards sustainable monitoring in a way that acknowledged their traditions and norms. A Maori Environmental Monitoring Group (MEMG) was introduced by the Ministry of Environment as a panel of Maori environmental experts. The members on this panel provided the EPI project leaders with information about Ma ori environmental perspectives, objectives and goals (Maori Environmental Monitoring Group, 1998). The MEMG were given the forum to contribute towards environmental decision making on issues such as wetland restoration, biodiversity and marine protection. Such a process allowed Maori people to move towards a more active role within environmental management, and allow them to influence the outcomes of the EPI project through a more collaborative approach (Jollands and Harmsworth, 2008). Though participation can occur in a variety of forms as a mechanism for enabling social interaction within environmental decisions, some critics have argued against this (Rossi, 1997; Sanders, 1997; Collins and Evans, 2002; Campbell and Currie, 2006). Critics have questioned the capability of ordinary community members in comprehending complex scientific dilemmas (Sanders, 1997). Furthermore, others critics have also suggested that the term participation is often used to disguise practices in which citizens are simply briefed or consulted with (Sanders, 1997; Rossi, 1997). A fundamental limitation associated with the malleability of participation is that a false sense of citizen involvement can often be created through tokenism (Campbell and Currie, 2006). Specific groups of people, or member of an indigenous group for instance are purposely included around the environmental decision making table by politicians. Such an act appears to provide the image of fairness on the part of gove rnments or experts; however, in reality many of these representatives still remain uninfluential (Collins and Evan, 2002). The EPI project for instance ultimately received widespread criticism for its apparent attempts at tokenism (Jollands and Harmsworth, 2008). Though a Maori panel was set up to inform the EPI directors on indigenous perspectives, the members of the MEMG were unable to take part in the final decision making stages (Clarkson et al., 2002). Furthermore, as Jollands and Harmsworth (2008) notes, in hindsight, Maori were also unable to fully comprehend the scientific components of the project, making their ability to actively take part in the projects efforts futile. Issues of tokenism and passive participation have been identified within some of the models analyzed above. Arnstein, Pretty and White all acknowledge that within the scope of participation there are varying levels of how active participation is. The malleability of participation therefore, serves more so as a limitation for the concept rather than a strength. Though the concept of participation has the ability and freedom to t ransform into a range of meanings, its lack of a concentrate definition can simply be used to describe any process involving people (Cornwall, 2008). Participation has been proven to occur within a variety of contexts and engage with several different groups of people. The issue however, is that active participation is not apparent in all of these situations. Consultation for instance has been disguised within many circumstances as a form of participation. Its use has been prevalent within environmental management especially as a way to engage with important stakeholders and interest groups. Consultation however, as demonstrated with the case of the EPI project, is simply another name to describe tokenism (Clarkson et al., 2002). The actual interests of citizens are ignored within programme objectives, yet such practices are accepted and continued because they are categorised under the heading of participation (Jollands, 2006). As Gardiner and Parata (1999) suggests, there was a severe lack of clarity regarding the EPI programme. The information presented to Maori at the consultation meetings was often disorganized and prepared in a manner that was insensitive to Maori world views and customs. Therefore it is not surprising that Maori communities were confused about the definition of natural indicators and the science used in western forms of environmental monitoring (Ministry for the Environment, 1998). The EPI programme had demonstrated some attempts to include Maori in environmental monitoring. Critics have generally suggested that the EPI programme was superficial because the MfE was not willing to hand over control over resources to the MEMG (Jollands and Harmsworth, 2008). Due to such criticisms, the MfE had begun to reduce its focus to involve Maori in environmental monitoring. Much of the government and Ministrys efforts to include Maori and nurture indigenous monitoring methods had dissolved after the completion of the EPI programme (Downs and Clarkson, 2000). The EPI programme presented several issues that highlighted the initial difficulties of incorporating Maori in environmental monitoring. The MfE essentially set up the EPI programme with the intention of including a range of perspectives from important stakeholders. While its intentions were sound, the programme ultimately disallowed for the participation from other groups or individuals because EPI project leaders were unwilling to share power over resources, funding and decision making (Clarkson et al., 2002). The failures associated with the EPI programme can also be attributed to the principles under which the project was initiated. From the onset, western scientific notions and environmental thinking provided the basis for the programme. Therefore from the beginning issues in attempting to incorporate local knowledge should have been conceivable (Downs and Clarkson, 2000) Arnsteins Ladder is one of the first frameworks within the academic literature which characterises the different typologies of participation. Arnsteins typology of participation within a planning context provided an important pillar within the literature for characterising different stages of participation. Since Arnsteins framework, several other authors such Pretty and White have developed other various typologies to characterise participation. Upon evaluation it is clear that participation cannot be situated within one clear definition. Arnstein, Pretty and White all offer valuable interpretations for charactering participation. Like any framework, each of these authors typologies is limited by certain constraints. Arnsteins ladder has been criticised as being over simplistic and normative in nature. Prettys typology of participation is more detailed, and considers the interests of all the actors involved within the process of participation. Prettys framework however, consists of too many overlapping typologies, making it harder to distinguish between specific classifications of participation. Whites typology of participation . As Cornwall (2008) has suggested, the concept of participation is malleable, denoting itself to almost any form of social interaction between groups of people. Participation has been suggested within the environmental literature as an important mechanism for generating appropriate environmental outcomes. Participation within natural resource management however, has been used to mask instances of tokenism and passive participation. The malleability of participation is ultimately a hindrance. People can transform the definition of participation to describe a variety of social processes occurring within a society. A limitation to this however, is that the term can be applied to cover up processes such as tokenism and consultation, which are ultimately processes which promote non participation or passive participation.

Community Service: Mandatory or Voluntary Essay

Community service is a topic that is highlighted in our society. Many people have different reasons for their participation in the service, having it be done for selfish reasons or unselfish reasons. However, participation is mandatory. This being the case, community service should be voluntary. Community service holds you back from doing certain things. High schools require 40 hours of community service in order to graduate. If you don’t complete these hours, it’ll keep you from moving on. Certain jobs require you to complete community service in certain tasks. Not doing such can earn you a penalty. Another example to support this claim is a quote from an article titled â€Å"The Benefits of Volunteerism, If the Service is Real†, is that â€Å"there is some cynicism among people that some portion of community service is prompted by students interested more in resume-building.† This goes to show that people have lost the initial purpose for community servi ce as a pass off to make themselves look good, rather than doing it for the cause alone. In addition, voluntary community service is more encouraged than mandatory. In the graphic â€Å"Attitude Toward Offering Students a Chance to do Community Service to Earn Money for College, By Age†, students were surveyed on whether or not they were in favor of doing community service for earning money for college. The survey was done from ages that ranged from 15-25 years old. Throughout the age range, the percentage of students who favor for community service to earn money or don’t favor varied. However, those favorable remained high in the 80% while those unfavorable remained low in the 20%. However, community service should be mandatory in certain situations. In the article â€Å"A Better Society? Or a Better Resume?†, mandatory community service is stressed. Model Naomi Campbell had to complete 5 days of community service as a result of hitting her maid in the head with a cellphone. She was set to work in a sanitation depot as a punishment. However, it tended to work out in her favor as it made her seem as she was doing it for the false altruism of her actions.

How to Improve Your English Pronunciation

One of the most important aspects of learning English is pronunciation. Without clear pronunciation, it is difficult to make yourself understood. First, start by learning individual sounds. After that, focus on the music of the language. You might be surprised by the following statement: Pronouncing every word correctly leads to poor pronunciation! Good pronunciation comes from stressing the right words—this is because English is a time-stressed language. In other words, some words—the content words—receive more focus, whereas other words—function words—are less important. Difficulty: Hard Time Required: Varies Heres How to Improve Your Pronunciation: Start by  learning individual sounds. These are called phonemes.  Use minimal pairs to practice individual vowel sounds. Minimal pairs are words in which only one sound changes. For example, pop - pep - pip - pap  changes the vowel sound. Using minimal pairs helps you isolate a sound to really focus on the small changes in sounds between vowels.  Learn pairs of consonants that are voiced and voiceless and practice through minimal pairs. For example,  f / v  the f sound is voiceless and the v voiced. You can recognize the difference between voiced and voiceless by placing a finger on your throat. Voiced sounds vibrate, whereas voiceless sounds do not vibrate. These pairs include: b / p - z / s - d / t - v / f - zh / sh - dj / ch.Learn the difference between pure vowels and diphthongs such as the oi sound in boy or aee sound in tray.  Learn the following rules concerning pronunciation: English is considered a stressed language while many other languages are considered syllabic. In other languages, such as French or Italian, each syllable receives equal importance (there is stress, but each syllable has its own length). English pronunciation focuses on specific stressed words while quickly gliding over the other, non-stressed, words. Stressed words are considered content words: Nouns e.g. kitchen, Peter—(most) principal verbs e.g. visit, construct—Adjectives e.g. beautiful, interesting—Adverbs e.g. often, carefully Non-stressed words are considered function words: Determiners e.g. the, a—Auxiliary verbs e.g. am, were—Prepositions e.g. before, of—Conjunctions e.g. but, and—Pronouns e.g. they, she. Try It for Yourself Read the following sentence aloud: The beautiful mountain appeared transfixed in the distance. Now, read the following sentence aloud: He can come on Sundays as long as he doesnt have to do any homework in the evening. Notice that the first sentence actually takes about the same time to speak well! Even though the second sentence is approximately 30% longer than the first, the sentences take the same time to speak. This is because there are five stressed words in each sentence. Exercise: Write down a few sentences, or take a few example sentences from a book or exercise.First underline the stressed words, then read aloud focusing on stressing the underlined words and gliding over the non-stressed words. Youll be surprised at how quickly your pronunciation improves! By focusing on stressed words, non-stressed words and syllables take on their more muted nature.When listening to native speakers, focus on how those speakers stress certain words and begin to copy this. More Tips to  Improve Pronunciation Remember that non-stressed words and syllables are often swallowed in English.Always focus on pronouncing stressed words well, non-stressed words can be glided over.Dont focus on pronouncing each word. Focus on the stressed words in each sentence.

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