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