Online Newspaper Vs. Print Version -- essays research papers

The contents of the Southeast Missourian online paper may seem so much more fitting with this day and age, but the traditional newsprint edition still offers their subscribers a lot more information. The print version organizes the newspaper with pictures from various sections located at the top, side, and bottom in order to draw the reader in to the articles and advertisements. The online version is very to the point in its content in the fact that the Southeast Missourian does not have to sell the online version to the public or subscribers, this is seen online with minimal advertisements that deal directly with the surrounding area . With the unappealing online version having only a basic structure to the inner contents along with two pictures, and a lead story, it seems more like a quick reference of news for the person that doesn’t have time to sit back and browse the newsprint edition.   Ã‚  Ã‚  Ã‚  Ã‚  The Web version displayed a different story from the printed newspaper. Another aspect of the online edition that didn’t appeal to me was the format of the articles. The articles were broken up into lengthy segmented paragraphs; this gets very tedious by having to scroll down the screen to read. Although the contexts of the articles are the same, the newsprint edition is more appealing in the sense that each article has at least one or more pictures relating specifically to it, this helps with the interpretation by referring back to the pictures surrounding...

athletes Essay examples -- essays research papers

Different Types of Athletes   Ã‚  Ã‚  Ã‚  Ã‚  Between the indifferent and the protestor, we find a marvelous creature called an athlete whose species is varied into many different types; the marshmallow, the jelly bean, and the rock. Athletes can be found everywhere- in the classroom, locker room, the gym, the thick of the game, and in church. Places people will not find athletes are up late, in bars, missing church, in trouble, or being disrespectful to his elders. An athlete is made of wondrous stuff. Athletes have the eyes and the steadiness of an architect, the muscles of a body builder, the speed of a bullet, the reflexes of a cat, the heart of a lion, and the faith of a saint. To his coach an athlete is a modeled player, a perfectionist to be encouraged, a student to be taught, and a dream come true. To his teammates an athlete is a hard worker, unselfish, modest, determined, and understands the meaning of teamwork. To himself the athlete is never good enough, aware that he is an example to others, the reason his team lost, but never why they won. An athlete is an amazing being. People may dislike him, but you have to admire his performance; doubt his capabilities, but never his courage; question his efficiency, but never his effort. People might be able to defeat the athlete, but never make him quit.   Ã‚  Ã‚  Ã‚  Ã‚  The marshmallow athletes are the ones who do not care if they are on the team or not. A marshmallow is soft on the outside and...

Why does Holden fear adulthood? Essay -- English Literature

Why does Holden fear adulthood? The novel catcher in the rye is set in the 1950’s and is narrated by a young boy called Holden Caulfield who is sixteen years old. He tells the story between the end of his school term and Christmas break. We know he is in a mental hospital and is telling the story of a few days he spent in New York city, he shares his feelings, emotions and opinions against the world surrounding him. Holden Caulfield, he is a person who feels the need to be in control of everything in his life, but the problem comes when he finds himself in the transition between childhood and adulthood. Holden wants and tries to act like an adult, but is unable to accept the fact he is becoming one, perhaps because of his association of adulthood with phonies and all he hates. By being in the stage where he is, he manages to avoid change, control his world with his own hands, yet creates a paradox between what he is, and what he wants to be. Possibly the main reason to why Holden doesn’t want to become an adult is his perception of †phoniness† and hypocrisy surrounding adult society. Holden shows his criticism towards most of the grownups who intervene in his life, specially those related to his schools. We can take Ossenburger as an example, he represents everything Holden hates, wealthy famous character who for Holden only gives phony speeches on how to live life. â€Å"He said he talked to Jesus all the time. Even when he was driving his car. That killed me, I can just see the big phony bastard shifting into first gear and asking Jesus to send him a few more stiffs† (Pg 17). This is just one of many examples Holden sees as fake. Phoniness is his main concern against society. Holden lacks the capa... ...and wanted to be an adult. Holden fears becoming an adult in mind and heart, but wants to become one in his actions. He wants to be safe but take chances. It’s a battle between childhood and adulthood, between innocence and phoniness. This battle is what has made Holden’s world an illusion, what has made him a madman. Holden fears landing form his illusion, becoming what he despises, knowing his protection is lost and knowing he is vulnerable to the world. What we see in Holden is probably not uncommon at all, he wishes to be a child at mind where it satisfies him internally but an adult in his actions, just like everyone, they get the side of the situation which satisfies them most. We never see what Holden becomes, but we see how his paradoxical way of acting and thinking is just a reflection of his fear of taking the full step into the adult society.

Formalist Literary Theory

Written Report: Russian Formalism and New Criticism Formalism is a literary theory that was spearheaded by two main bodies – Russian Formalists and New Critics – which focused on understanding the literary text through the text itself. Its principles posed a great shift from the traditional approaches during its time, and so it sparked a movement in the field of literary studies that would adopt new perspectives and ideas.While Formalism received much criticism due to its dubious methods of the closed reading of a text, its lack of a solid theory of language, and so on, it was also able to establish the notion of literary study being a partly scientific, objective process, and its framework would serve as a starting point and a great influence for future ideas and theorists to come. Old Criticism. The form that literary studies had taken during the second half of the nineteenth century, positivism, was largely based on the genetic approach: critics concentrated on uncov ering the sources and genesis of particular works.The role of biography and history reduced the importance of literature itself in literary scholarship. Study of literature had become a loose aggregate of philosophy, history, psychology, sociology, etc. As Jakobson said, historians of literature had become practitioners of what he called ‘homespun’ disciplines based on psychology, politics, and philosophy, where literature itself could only offer secondary and defective evidence. Emergence of Russian Formalism Formalist theory emerged from the meetings, discussions, and publications of the Opojaz (The Society for the Study of Poetic Language) and the Moscow Linguistic Circle.They were dissatisfied with the ways of studying literature in the academe. Opojaz was based on St. Petersburg, dates back to 1914, and dissolved in 1923. Its nucleus was formed by Sklovsky, Eikhenbaum, Brik, Tynyanov. MLC came to life in 1915. Its best known member is Roman Jakobson. When he left t hem in 1920 for Prague, they lost their most talented member, and ceased to be a significant formalist center. Some of the figures who influenced Russian Formalism were: Andrei Bely and his work, Symbolism Said that, â€Å"our knowledge of reality is never direct†¦ we do not know reality except approximately through symbols. * Literary criticism has to be preoccupied with the specific forms of artistic creativity. * What is joined in the symbol in a humanly inseparable way is form and content. * Literature is both spatial and temporal. Other arts like sculpture or music realize themselves within only one of these forms. * Reality appears to be different from that seen in a work of art. It is â€Å"deformed†. Occurs by certain specific constructive forms. These are to be investigated. Immersed in the mystery that the mosaic of art covers, the critic lose their view of their proper task. They search for something that is beyond it before describing it with any accuracy. A . A. Potebnja * Literary activity is cognitive and tightly connected with its medium – language. * Poetry is a form of thinking in images, the ‘shape’ of which is dependent on the linguistic features of a given language. * Poetic image need not mean a static picture of something, it can also mean action. Not just spatial, but temporal too. * Images play a synthetic role in our thinking.Poetry strives to reduce the wide variety of complex phenomena to a small number of images. * Imagery is not basic aspect of poetic craft – but also sound. Images are not the only means to convey meaning in a poetic work. Emergence of New Criticism The prominent figures in the movement for the New Criticism were John Crowe Ransom, Allen Tate, Robert Penn Warren, and Cleanth Brooks. They initiated a professionalization of American literary studies – one way of spreading the ideas of New Criticism was by publishing New Criticism based textbooks to be used in universitie s.These individuals saw the contemporary world as driven by desire in profit and greed, as well as â€Å"triumphs† in modern science, threatening to destroy tradition and everything that was not immediately useful – including poetry. Poetry is a means of resisting commodification and superficiality. Some of the figures who influenced New Criticism were: T. E. Hulme * â€Å"Romanticism and Classicism†. Romantic view: man is intrinsically good, spoilt by circumstances. Classical view: man is intrinsically limited, but disciplined by order and tradition to something fairly decent.Romantics are regarded as a well of possibilities. Classicals are regarded as finite and fixed. * Classical view leads to poetry. Romantic one to uncontrolled flights of emotions and metaphors. * New poets will disclaim the thought that poetry is a vehicle for expressing emotions, but rather, it provides a precise description of the world around us. T. S. Eliot * Those who treat literature as a product of a historical moment or a philosophical foundation should be called historians and philosophers. * Rejected vague emotionalism and verbal profusion of Romantic style.Critic should be preoccupied with literature itself, its accurate usage of words, rather than the phenomena flanking it. * Does not deny that emotions enter poetry, but rejects the directness of the overflow. Disliked sentimental poetry and respected tradition. * Highest poetry should synthesize thought and feeling, argument and image, the rational and the non-rational. Literariness. The first question for the Formalist was not how to study literature, but what the subject matter of literary study actually is. To get specificity for literary study, it entails the exclusion of all mimetic and expressive definitions of literature.Because in regarding the literary text as an instrument of expression (a point of view which will lead us to the personality of author, leading to biography or psychology) or repr esentation (we will see the it as a picture of society, leading to history, politics, or sociology), we overlook the specificity of its literary qualities. What makes a text literary? This was a concern for the Formalists. What distinguishes literature from, say, a news article or a travel book? Simply put by Eikhenbaum, literature constitutes differences from other orders of facts.The object of study of literary study is not an object, but a set of differences, and the science will consist of the study of those specifics which distinguish it from any other material. Literary studies analyze the differences implied in the opposition between practical and poetic language. The differential element of poetry, gives it its specificity. We owe this difference to the process of defamiliarization. According to Sklovsky, art defamiliarizes things that have become habitual or automatic. Take for example the act of walking. Walking is a daily activity. We have ceased to be aware of it.But whe n we dance, the automatically perceived gestures of walking are perceived anew. â€Å"A dance is a walk which is felt. † In the same way, everyday use of language is something that is natural or unconscious. But language in poetry is more or less the same language we know, but this time, we have become more aware of its presence – it is a new sensation to be felt, just like the dance. Practical language constitutes the main automatized elements made strange by art. Everyday language is made strange in poetry, and in particular, the physical sounds of words themselves become unusually prominent.Poetic speech is formed speech. Poetic speech is not the specialness of vocabulary (e. g. just because a poem uses an unfamiliar word like â€Å"lo! † does not mean that it is poetic speech), but because its formal devices – like rhyme and rhythm – act on ordinary words to renew our perception of them, as well as their sound texture. Because of that, defamili arization is found almost everywhere form is found. The poetic speech that one would find in a poem is a deliberate act of creating a form that is based on defamiliarized language. As Jakobson described it, poetry is organized violence committed on ordinary speech.It roughens up and impedes pronunciation of ordinary speech – syntax, rhythm, semantics. Devices and Function. Poetry makes use of literary devices – hyperbole, parallelism, repetition, iambic pentameter, and so on. That poses the question: can’t devices lose their function? Because the literary devices themselves were subject to automatization of perception since they are in literature now, they lose their distinction as literary and non-literary. Literariness then is a feature not just of form as impeded speech, but more importantly, of impeded form.So the defamiliarization will not wholly depend on the existence of devices, but their function in the work they appear in. For example, foregrounding gi ves us a dominant factor. A work will contain passive or automatized elements that are subservient/subordinate to the dominant element. So what would interest a Formalist, is how the elements are interrelated. How do these automatized elements give way for the foregrounded element, or perhaps, what makes the foregrounded element stand out; the device could have been just commonplace or uninteresting, so how does it achieve its dominant status in relation to other devices?In other words, the active components of a work are now differentiated not only from the practical language, but from other formal components which have become automatized. Fabula and Syuzhet. However, the method for analysis and the literariness of poetry cannot be applied exactly for prose narrative as well. They have different constructions. The Formalist study of narrative was based on a distinction between the events and construction of a prose narrative – Fabula and Syuzhet. Fabula (plot) refers to the chronological sequence of events. Syuzhet refers to the order and manner in which they are actually presented in the narrative.Syuzhet creates the defamiliarizing effect. We could have a crime story and it could be told in its chronological sequence: there was a crime, the police went to investigate, they had to seek for the help of a world-famous detective, and he solves the crime, the end. From point A, it ends to point D. That is the Fabula. Manipulation of the Syuzhet though, allows it to be told in a different, more defamiliarized way. We could start with the ending wherein the crime was already solved, or we can start in the middle of the sequence of events wherein the detective receives a request for his assistance.We can even tell the story from the point of view of the killer. All of it makes for a new way of telling a common plot. Close Reading. When we do a reading of a text, we ought to focus on the text of a work; exclude the author’s intention, historical and cu ltural contexts. The text was an object of literature complete in itself. It is an autonomous entity, and therefore should be treated as one that is not dependent on its creator or external influences. If the goal of reading a text is to get its meaning, then we should not look further from the text.Form and meaning are intimately connected and should not be analyzed separately. Good literature transcends the time of the author. Who cares if X was in love with lady Y? We should disregard the details of such, and focus on how the poem focuses on scorned love. Emotion and Intention. William Wimsatt and Monroe Beardsley’s essay, The Intentional Fallacy, talks about the mistake of attempting to understand the author’s intentions about his work since it violates the autonomy of the work. The meaning of a work should be contained solely within itself. The Affective Fallacy talks about the mistake of nterpreting a text through the emotions of the reader. A text must be unders tood not relatively, but its meaning must be inherent. Paradox. Poetry should carry the element of heterogeneity, of negating their own affirmations. They are better equipped for whatever treatment they will undergo. Homogeneous poetry cannot bear â€Å"ironic contemplation†. It is irony and ambiguity that make for good poetry. Poetry is paradoxical in nature. Life is complex. The force of the paradox holds a poem together, it builds unity and coherence within the text and the task of the critic is to lay bare these paradoxes and show how they work.Poetry says something ‘for real’ that is not equal to a logical statement or to an emotional attitude. It is not just a psychological stimulus, as Richard said. Poetry obliquely tells us something about the nature of reality. All of its meaning is linguistic, but not all that is pertinent to meaning can be explained by linguistic analysis. Literary History. The dominant devices in a particular genre and/or period contr ibute to the evolution of literature. When they become familiar, new works will pick them up to make them perceptible again.Through this, genre evolves. If so, then literary language is not a planned development of tradition, but a colossal displacement of traditions. Legacy Formalism, because of the specificity it wished to explore, thus creating the concept of literariness, was a productive and adaptable framework. Formalism anticipated and influenced some important ideas in 20th century literary theory – central position of language, devaluation of biographical element, importance of norm deviation, etc. will be featured by future theorists from Jakobson to Barthes. ShortcomingsThey have no developed theory of language, especially since Formalism was made in a pre-Saussurean view of language. Marxist critics argue against the absence of any social dimension in Formalism’s conception of literature. They claimed that use of language is social and ideological. Referenc es: Bertens, Hans. Literary Theory: The Basics. Abingdon, Oxon: Routledge, 2008. Jefferson, Ann & Robey, David. Modern Literary Theory: A Comparative Introduction. Totowa, N. J. : Barnes and Noble, 1984. Thompson, Ewa. Russian Formalism and Anglo-American New Criticism: A Comparative Study. The Hague: Mouton, 1971.

Personal, learning & thinking skills Essay

To provide the highest level of personal care (toileting, bathing etc) and attention to residents, following individual care plans carefully and ensuring that all contact is polite, friendly warm and supportive. To act as a key worker for a named group of residents, ensuring that these responsibilities are carried out in full (as defined in the training manual). To understand and comply with all statutory and legal requirements which are relevant such as Health & safety, COSSH, all aspects of the health & social care Act, to maintain a safe enviroment throughout the home. Understand and have an awareness of infection control. To always be alert to residents physical and mental well being, immediately reporting and changes in a residents condition to a senior person on duty, and to accurately maintain and update residents records as required. To respect and maintain confidentiality of residents personal information at all times, this includes residents behaviour and actions and any incidents that may occur in the course of day to day care. Be understanding and patient towards residents and their needs, and encourage, assist and support residents to  participate in lesiure activities as appropriate to the individual, ensuring their social and emotional needs are met. This also includes escorting residents to outside appoinments and leisure outings. Responsible for making and changing bed, tidying residents rooms (with the residents permission) undertaking light cleaning duties as needed and generally assisting in ensuring that the Home is kept clean, pleasant and wecoming at all times. Helping to serve meals and drinks at meal times and other times when required, taking care to present meals and refreshment in an attractive way, with polite and courteous service. Also, to provide the appropriate level of support and helping new team members as appropriate, ensuring that the Care Home is a friendly and supportive working enviroment.

Fredric Jameson – Postmodernism

It gives examples of different artists like; Andy Warhol, John Cage, Phil Glass and Terry Tillie who started off in an expressionist format than went off to add some â€Å"punk and new wave rock into the rapidly evolving French nouveau roman fashions. † (Frederic Jameson Postmodernism or, The Cultural Logic of Late Capitalism, l) With the visible and detailed architecture that emerged from postmodernism to ether implacable â€Å"so called international style† (Frederic Jameson Postmodernism or, The Cultural Logic of Late Capitalism, l) of Frank Lloyd Wright works.From the simplicity, fabrics, contexts and surroundings he had analyzers, analyze how profound his work was with a term â€Å"Master† (Frederic Jameson Postmodernism or, The Cultural Logic of Late Capitalism, l) with identifying its characteristics. The ending just brings forth the beginning of the chapter and talks about the relationship the public have with their historical knowledge. How one can cater to the arts in a very profound way with â€Å"emotion ground tones. (Frederic Jameson Postmodernism or, The Cultural Logic of Late Capitalism, l) While others Just reflect on the artwork in a political stances and vase it off a â€Å"multinational capital,† (Frederic Jameson, Postmodernism or, The Cultural Logic of Late Capitalism, l) which creates more space for new works to make money in a sense. Work Citied 1. Frederic Jameson Postmodernism or, The Cultural Logic of Late Capitalism, I Frederic Jameson – Postmodernism By Anises-Peters

Thank You for Smoking by Nick Naylor

Sneha Maknojia Professor Christopher Dunn English 1302- Essay One 27 February 2013 Thank You for Smoking Thank You for smoking is about a lobbyist name Nick Naylor who is the vice-president of Academy of Tobacco studies. The movie revolves around how Nick smooth-talks everyone into believing that Tobacco is not very harmful. Nick Naylor's main job was to make people aware of the research his academy does and answer questions on television regarding health claims against tobacco. Nick believed everyone has some sort of talent and he has the talent to talk people in or out of an argument.He always knew what to say and when he needs to say it. In the movie Thank You For Smoking the main character Nick Naylor shows the power of how argument when it is done in a correct manner, which can make everything seem right. There were many instances in the movie when Nick showed the power of argument. In the movie he argued himself out of some other argument. Throughout the movie Nick showed the p ower of art and power of argument from the smallest of things to very serious matters.The first instance I thought he showed his knowledge about argument is when he is with his son in Los Angeles and teaching him how you do not have to be right to win an argument. He is teaching his son an art of argument by saying that to win an argument all you have to do is to prove other persons argument wrong. The reason why I thought it was kind of an interesting philosophy of Nick Naylor is because it is kind of true sometimes you do not have to prove yourself right.All you have to do is that prove the other person wrong which will automatically make you correct. The second time I thought Nick Naylor showed his power over arguing is at the beginning of the movie when he is at a television talk show and he was being criticized of how the academy is not doing anything to prevent the number of deaths of children because of tobacco. Here again using his great skill of smooth talking saying that w hy would a tobacco company would want their customers to die. Again he made a point which I thought was very logical.He put an end to this argument by claiming how academy is putting their own money to help persuade kids not to smoke. Nick again using the power of his argument skills by putting the on us on the other guy instead of himself and let the other guy prove his case instead Nick trying to prove his. The third evidence of Nick’s argument abilities is shown at the congressional hearing towards the end. When he was arguing on the issue of people being not informed enough about the dangers of tobacco, he was asked to come in to prove that otherwise.Here again instead of proving his own point, Nick Naylor brought up a whole new argument to get peoples focus off from the tobacco argument. He made another valid point by saying that if tobacco’s hazardous warning needs to be more prominent on its packaging because it is great danger to American people health than che ese have to have hazardous warning too. He argued that a lot Americans died because of cholesterol so they should put a more prominent danger warning on cheese related products too.Nick gave a great analogy about people being knowledgeable enough to make their own decisions. Just like cheese do not need a warning sign because people are aware of the danger of cholesterol by eating too much cheese, people who smoke are aware of the harm of tobacco. It’s a person own choice what they want to consume and what they do not, people are knowledgeable enough to know what is harmful to them and what is not. These claims that Nick have made about the beauty of arguing supports my thesis about how throughout the Nick Naylor showed the power of argument if it is done correctly.He argued with his counter parts in a manner that it never looked like he was arguing. He talked in such a soft, smooth tone that sometime he was not the one who was defending the argument and it is the other way a round. Some people think arguing never brings any good, but in this movie Nick Naylor showed how arguing, if done correctly, can persuade people to change their way of thinking. I thought the last dialogue of Nick Naylor sums up his talent of arguing quiet brilliantly. â€Å"Michael Jordan plays ball. Charles Manson kills people. I talk. Everyone has a talent. †