Of Mice and Men - Essay - Lonely Characters Discussion Essay Example for Free

Of Mice and Men Essay Lonely Characters Discussion Essay In the opening chapter of Of Mice and Men John Steinbeck immediately introduces the theme of loneliness and the reality of men living very temporary lives with no real direction. Loneliness is an inevitable fact of life that not even the strongest can avoid. Throughout the story, readers discover many sources of loneliness and isolation. Candy is an old ranch worker who lost his hand a few years back while working. He is a lonely man who owns an old, smelly, disabled dog that can hardly walk. This really was his only companion. In the end his dog was shot. Candys life was heading in the isolation direction even further. The quote on page 59 Spose I went in with you guys. Thats three hundred and fifty bucks Id put in. Howd that be? This was his effort to try and join in with George and Lennies dream ranch. Crooks is a black Negro Stable Buck who wears glasses and has a busted back. He is an extremely lonely man and probably the loneliest in the novel due to his complexion. He is treated by the others in a rude manner and is left sitting in his little room helpless with an uncomfortable bed which makes his back worse. The quote on page 67-68 You got no right to come into my room. This heres my room. Nobody got any right in here but me. This is how he reacted to the treatment he was getting, but in the end he was quiet a nice guy to know. Curleys Wife is a very lonely woman who wears red mules, has red fingernails, full rouged lips and hair rolled in clusters. She has no name throughout the entire book to reinforce how insignificant a person she is. Her life with her husband was nothing to do with loving each other because she didnt even like Curley because he was not a nice bloke. The quote on page 87 Coulda been in the movies, an had nice clothes tells us that her ambition was to become an actor. In the end she ended up being murdered by Lennie after trying to become his friend. George and Lennie, although unhappy at times, are not lonely, because they share a very close bond with each other, and have traveled together ever since Lennies Aunt Clara died. The only thing that seems to keep them working for next to nothing is the thought of owning their own ranch someday. In the final chapter Lennie states triumphantly on page 103 An I got you. We got each other, thats what, that gives a hoot in hell about us. In the end George felt he had to shoot Lennie himself, so that he would die instantly, rather than suffer as Curley killed him slowly and painfully. Lennies murder was Georges final act of friendship. But it also ended their long friendship and now George would be lonely as he traveled around from job to job. In conclusion the loneliest people in this story are Crooks, Candy and Curleys Wife. The friendship between George and Lennie was a strong bond all throughout the story, but it all ended when tragically George shot Lennie because he could no longer protect him any further.

Recommendations :: essays papers

Recommendations Advice is something given, usually freely, even when unasked for. There are so many well- meaning people in the world that want to give out pearls of wisdom, I am often inundated with ideas on all manner things. How to shop for a home; buy a car; apply for credit; deal with my love life, blah blah blah. The list seems to go on and on forever. Everyone has a better way of doing something, and it's almost enough to make me go crazy to have to listen to it all. However, there have been incredibly wise bits of knowledge passed on to me, that while I may not have understood them at the time, seem almost profound in hindsight. Three of these are, don't go around fighting; watch how I use credit; and finally, watch whom you trust. When I was in highschool, I was a skinny little kid; I was a natural target for bullies. As I got a little older, I learned to fight. My parents were happy that I was learning something that would help me physically, as well as with my confidence. Indeed, I no longer walked around like a victim; the problem was that I seemed to be looking for trouble. One day, as was sure to happen, I got into a fight. No one was hurt, but my parents still got involved. After an excruciatingly long lecture on how one stupid act could ruin my life, I was sent on my way. "Boy," I thought, "they sure don't have a clue about how life is today." Fortunately for me, I did listen, even though I didn't understand. The next month a saw a young man arrested for hitting someone. The fight started over a girl, and for hitting another person, the young man went to jail for five months. His career in law-enforcement was ruined before it even had a chance to start. Another wonderful bit of advice my parents gave me was in the usage of credit. "You can have too much credit. After awhile, it becomes a perpetual monster in your life." At the time I was only nineteen or so, with no idea of what interest charges were, and the thought of all the spending power I could have, just waiting for me to come apply was almost overwhelming. As soon as I was able, I got all the easy credit I was allowed to get on my way to the American dream.

The Colliding Dynamics of Class Structure Essay -- Social Studies

The rigidity of class structure is the culprit for the vast number of inequities in society. Power is concentrated in the hands of a small sector; leaving a few individuals to have more authority and influence, in comparison to others. The construction of class structure identifies the way groups are divided into social positions. Differences stemming from social position are further exemplified by the accessibility to valuable resources–such as wealth, education, occupation, and status. Those with distinguished command in society have access to these increasingly wide ranges of resources, which may be present in limited forms to the less powerful. Used as a device of supremacy, power is a style of control when the basis is acquiring these societal possessions. Even though class structure is considered to be fluid in nature, for some it is a complex web of entanglements hard to deal with it. Groups who suffer from social and material deprivations are not doing so by choice, b ut hugely in part to economical and occupational factors. These prominent distinctions have led several to fall victim to the systems of hierarchy. Built within these schemes are the inequalities that arise due to one’s position; and captured inside are the outcomes that influence levels of individual, educational, and occupational independence. People who do observe the inequities between classes may feel the impact of social stratification in various ways. Similarly the dynamics of class structure are very significant elements found throughout the works of Virginia Woolf, George Orwell, and Karl Marx. They are all in agreement that society host the series of conflicts underlying that of class structure. Class structure as a whole denotes differing realit... ...ist Feminism." Critical Sociology (Brill Academic Publishers) 25.2/3 (1999): 196-217. Academic Search Complete. Web. 19 Mar. 2012. Marx, Karl, and Frederick Engels. Marx/Engels Selected Works, Vol. One. Moscow. Progress Publishers, 1969, N. pag. http://www.marxists.org/archive/marx/works/1848/communist- manifesto/index.htm. Web. 23 Apr. 2012. Orwell, George. "Shooting an Elephant". The Seagull Reader Essays. 2nd Edition. Ed. Joseph Kelly. New York. W. W. Norton & Company, Inc, 2008. 243-250. Print. Peet, Richard. "Inequality and Poverty: A Marxist-Geographic Theory." Annals of the Association of American Geographers 65.4 (1975): 564-571. Academic Search Complete. Web. 19 Mar. 2012. Woolf, Virginia. A Room of One's Own. New York. Quality Paperback Book Club, 1992. Print. Woolf, Virginia. Three Guineas. New York. Quality Paperback Book Club, 1992. Print.

Chem 30 Lab

Hess Law Lab DESIGN Aspect 1:Problem: What is the molar enthalpy of formation of magnesium oxide? Variables: Manipulated: None Responding: None Controlled: Isolation of calorimeter, concentrations of substances involved. Aspect 2:Background Information: Assumptions: Specific heat capacity of water, we assume that the acid has the same qualities as water including heat capacity, and we assume the enthalpy of formation for magnesium oxide from the data booklet for theoretical value. Hess’s Law: Hess' law states that the energy change for any chemical or physical process is independent of the pathway or number of steps required to complete the process provided that the final and initial reaction conditions are the same. In other words, an energy change is path independent, only the initial and final states being of importance. Waste disposal and safety: Corrosive substance which causes severe but delayed burns. DO NOT INGEST. Avoid Inhalation. Dispose as instructed by the lab technician or the teacher. Aspect 3:Apparatus Diagram: Figure from Inquiry into chemistry textbook pg 352 Materials: †¢1. 00 mol/L HCl(aq) †¢MgO(s) powder †¢Magnesium ribbon †¢Simple calorimeter †¢100 mL graduated cylinder †¢Scoopula †¢Electric balance †¢Thermometer †¢Sand paper Procedure: 1. Mg(s)+ O2(g) MgO(s) 2. MgO(s)+2HCl(aq) MgCl2(aq)+H2O(l) 3. Mg(s)+2HCl(aq) MgCl2(aq)+H2(g) 4. H2(g)+ O2(g) H2O(l) + 285. 8kJ Part 1: Determining ? H of Reaction (2) 1. Set up the simple calorimeter refer to figure 9. 16 above. Using a graduated cylinder, add 100 mL of 1. 00mol/L HCl(aq) to the calorimeter. 2. Record the initial temperature of the HCl(aq) to the nearest tenth of a degree. 3. Find the mass of no more than 0. 80 grams of MgO(s) powder. Record exact mass. 4. Add the MgO(s) powder to the calorimeter containing the HCl(aq) swirl the solution gently, recording the highest temperature reached. 5. Dispose as directed by teacher. Part 2: Determining ? H of reaction (3) 1. Using a graduated cylinder, add 100mL of 1. 00mol/L HCl to the calorimeter. 2. Record initial temp. of hydrochloric acid to the nearest tenth of a degree. 3. If you are using magnesium ribbon, sand ribbon to desired mass. Determine mass no more than 0. 50 grams of magnesium. Record the exact mass. 4. Add the Mg(s) to the calorimeter containing the HCl(aq). Swirl the solution gently, recording the highest temperature, tf , reached. 5. Dispose as directed. DATA COLLECTION & PROCESSING (DCP) Aspect 1:Recording Raw Data: Temperature of hydrochloric acid and mass of Magnesium oxide Mass of Magnesium oxide (g)Initial Temperature ( °C)Final Temperature ( °C) 0. 7523. 5029. 50 Temperature of hydrochloric acid and mass of magnesium Mass of magnesium (g)Initial Temperature ( °C)Final Temperature ( °C) 0. 4824. 0045. 00 Aspect 2:Processing Raw Data: Enthalpy change of Magnesium oxide MgO(s)+2HCl(aq) MgCl2(aq)+H2O(l) Q=mc? t ? t= 29. 50 °C-23. 50 °C? t = 6  °C Q= (0. 00075kg) x x 6 °C Q= 0. 018855kJ/mol MgO Enthalpy change of magnesium reaction Mg(s) +2HCl(aq) MgCl2(aq)+H2(g) Q=mc? t ? t=45. 00 °C-24. 00 °C? t= 21 °C Q= (0. 00048kg) x x 21 °C Q= 0. 0422352kJ/mol Mg ?HH2O = -285. 8 kJ/mol (given in data booklet) ?Hrxn = 0. 018855kJ/mol MgO + 0. 0422352kJ/mol Mg + 285. 8kJ/mol H2O ?Hrxn = – [285. 86109] kJ/mol MgO ? H system = -? H surroundings %error= x 100% %error= %error= -52. 48%

The stinger †high, harsh sound used particularly Essays

The stinger – high, harsh sound used particularly Essays The stinger – high, harsh sound used particularly Essay The stinger – high, harsh sound used particularly Essay How and why do music and image influence each other in media that combine ( e.g. music picture, advertizements, movie etc. ) and what effects and affects does this hold on the audience? Introduction The usage of music in concurrence with ocular imagination has a broad scope of maps. Its survey is a comparatively recent phenomenon which appears to hold gained land with the increased drift for multidisciplinary attacks to academic survey, and these are relevant here. Because of the complex nature of music and image interaction, this essay begins by looking at cardinal elements of musicology, sociology and psychological science that relate to analyze of audiovisual texts. This will demo how a scope of influences impact on an individual’s affect and response when exposed to audiovisual media, and gives some indicant of the complexness of this procedure and the troubles in analyzing it. Following this, assorted illustrations of different audiovisual media will be considered to demo how consequence and affect plants in pattern. It should be noted that affect’ is used as a psychological science term, as outlined by Tagg: an affect is felt by a human when his feelings are aroused by an external †¦stimulus. The province in which this human therefore finds himself is an affectional state ( 1979: 33 ) . Effect’ is explored by Branston et Al in a treatment of the effects theoretical account ( 2003: 148-153 ) , and its consideration of whether media power consequences in e.g. force in society. It can be seen as holding a broader application closer to its Oxford English Dictionary definition of result or effect of an action etc. There is some crossing over in significance, but the context and nomenclature should avoid confusion in this essay. Background Theory Musicology The inclusion of musicology in any multidisciplinary survey is complex in itself, as musicology is so extremely specialised that its nomenclature and application remain distant from non-musicians, and are frequently hard to explicate in ballad footings. Furthermore, musicology has strong roots in the survey of Western classical manners, and this frequently presents challenges when nearing other genres of music, allow entirely non-musical subjects. Middleton, for illustration, identifies musicological nomenclature biased towards the parametric quantities prioritised by classical music, reflected in notation ( 1990: 104 ) . Notation itself reflects a musical civilization to a great extent dependant on written/read media instead than an aural tradition, and is therefore suited to the written/read civilization of academic discourse. For aural traditions, which underpin popular manners, there is as yet no universally accepted criterion. Added to the analysis of music in ocular civilizations is the demand to understand the cultural background of musical manners and the manner in which peculiar audiences relate to them. A failure to recognize these nuances can take to inaccurate generalizations. In advertisement, for illustration, Blake suggests that When American popular musics are used, the codifications are less easy to analyze in footings of power and affect than in Cook’s classical examples†¦the ads imply that their merchandises with bestow the imagined freedoms and pleasances of America on the consumer ( 1997: 232 ) . Yet it is arguable whether the usage of Nat King Cole singing There May Be Trouble Ahead’ as the soundtrack to an Allied Dunbar advert ( cited by Blake 1997: 234 in another treatment ) confers this significance. The advert’s cardinal character is a stereotypically white, middle-class British man of affairs, reflecting the demographic at which the advert is targeted, and th e music has been used for its lyrical relevancy. Blake discusses the issues sing a white character lip-synching to a black singer, yet it is likely that many of the advert’s viewing audiences would non be cognizant of who they could hear, nor of his ethnicity. The generalization sing American popular musics is misdirecting in itself: for illustration, Reebok’s advert having US rapper 50 Cent, concentrating on his lasting being changeable nine times, does non propose freedom or pleasance. Cook suggests that music heard as an unaccompanied text i.e. without attach toing visuals, seldom raises clear issues of significance ( Cook 1994: 27 ) . This is possibly instead simplistic, as a figure of musical devices are associated with significance e.g. the usage of a minor key to arouse unhappiness, choler and other negative’ tempers, and these can act upon the reading of a ocular narration ( Vitouch 2001 ) . Cultural issues can add to this phenomenon. InDifferentiations, Bourdieu presented the consequences of an extended study into societal background, gustatory sensations and behavior, placing what he termed cultural capital’ , an acquired cognition of how to act in order to derive praises within society. This included factors such as favorite music, and penchants translate into codes’ which members of the same societal group can read and exhibit. The consequence, Bourdieu says, is that a work of art has significance and involvement merely for person who possesses the cultural competency, that is, the codification, into which it is encoded ( Bourdieu 1984: 2 ) This theory was extended by the work of Sarah Thornton, who undertook extended research of the UK nine scene in the late eightiess and early 1990s, and developed the construct of subcultural capital ( Thornton 1996 ) . The marks and codifications of this are exhibited in subcultures much as they are in wider society, but frequently subvert conventional hierarchies. Thornton and Bourdieu shed some visible radiation on how different sections of society articulate individuality, but reading is far more complex. There are many illustrations of a deficiency of subcultural capital taking to misidentify decisions: The civilization of rave is the civilization of childhood†¦both male childs and misss have normally been seen sucking conciliators [ silent persons ] says Tomlinson ( 1998: 200 ) , misconstruing their usage to antagonize the consequence on jaw musculuss which is a side consequence of the drug rapture, widely used within the subculture. Blake’s references to American popular music discussed in the debut demo a similar deficiency of subcultural capital. Subcultural codifications evolve over clip, adding to troubles understanding and construing them, but they are frequently of import to analysis of an audiovisual text ; in advertisement, they may be cardinal to appealing to a peculiar mark market. Cultural and subcultural codifications are, to some extent, psychological, reflecting a wish to joint individuality and to belong to a societal group. This may be behind the determination that if classical music is played in wine stores, clients tend to purchase more expensive vinos than if the Top 40 is played ( Areni and Kim 1991, cited in Wilson 2003: 94 ) , and reflects aspirational every bit good as existent individuality. Musical gustatory sensations besides have a bearing on response: topics in an experiment where a assortment of music was played in a university cafeteria rated it more positively when it played music they liked ( North and Hargreaves 1996, cited in ibid ) . While gustatory sensations in musical genres appear to be linked to cultural capital, other facets of gustatory sensation nexus to personality. A study of 3500 persons enabled Rentfrow et Al to show four contrasting personality types, each with a type of music they preferred ( 2003 ) . There was a correlati vity between wishing intense, rebellious music and being unfastened to new experiences, being athletic and verbally able and seeing oneself as intelligent ( ibid: 1249 ) . This may be relevant for advertizers: for illustration, to sell athleticss vesture, genre entreaty to a subcultural group may non be plenty if the music is more appealing to those who are non athletic ( who were found to prefer brooding, complex music: ibid: 1248 ) . The above illustrations show how many procedures are at work in the reading of an audiovisual text, both by its intended mark and by the analyst, and travel some manner to explicating the misreading of texts, even by those considered experts in their field. Ocular Media and Music Music has two chief maps when used in advertisement: stigmatization and helping memorability. The extent to which music makes an advert memorable can be demonstrated by grounds that some advert music retains its associations with a merchandise in the heads of persons for many old ages after the adverts are regularly broadcast ( Brierley 2002: 153 ) – for illustration, the 2nd motion of Dvorak’sNew World Symphonyis strongly associated with Hovis staff of life. There is significant grounds that the music in advertisement is more memorable than the words ( Fowles 1996: 132 ) . In add-on to the music being memorable, it may assist reenforce words in the consumer’s head. The original intent of the advertisement jangle – a short motto or rime associated with a specific merchandise and frequently set to music – was to aid memorability, although jangles were progressively dropped in favor of more sophisticated musical stigmatization from the 1980s. This is apparent in interviews with forces from temper music libraries ( Tagg 1980 ) , where Ron Singer of KPM notes increased penchant among clients for known melodies ( ibid: 8 ) . O Sole Mio, a vocal composed in Naples in the 19Thursdaycentury, is well-known by many British consumers as music from Cornetto advertizements, where the text Just one cornetto’ was substituted. In other fortunes, the original words relate to the merchandise as in, for illustration, Dulux’s usage ofA Whiter Shade of Pale( Brierley 2002: 179 ) for publicizing its scope of white pigment with a intimation of coloring material. The success of advertisement is frequently measured by consumer research into rates of callback, yet there is no established relationship between callback and action ( Brierley 2002: 169 ) , so it is hard to set up the extent to which music such as the Cornetto theme’ really creates gross revenues i.e. it is non clear whether the affect ( acknowledgment, acquaintance ) leads to consequence ( purchase of the merchandise ) . Branding can besides be assisted by music ( Brierley 2002: 169 ) , with different genres implying different trade name values. For illustration, classical music is associated with quality and position ( as demonstrated by the vino store experiment discussed antecedently ) . This was used by Citroen in an advert for the ZX 16v which featured music from the overture from Mozart’sThe Marriage of Figaro: †¦the music imbues the merchandise with prestigiousness that attaches to classical music in general and ( for people who recognise it ) to opera in particular ( Cook 1994: 30 ) Prudential developed an advert with narrative refering a immature adult male desiring to be a stone star, but used a classical soundtrack, even when the ocular image was of a stone set playing ( ibid: 33-5 ) . This suggests that the advertizers intended to make the feeling of a quality merchandise and that the demographic of the mark market was different to that of the person depicted in the advert. This usage of music is described as non-diegetic: it does non emanate from a ocular beginning. . The Prudential advert ends with a harmonic patterned advance towards a resolution meter which accompanies the visual aspect of the Prudential logo, described by Cook as pass oning that Prudential is the ( rhenium ) solution of all your problems ( ibid: 35 ) : he notes that musical linguistic communication can non be censored, but that the equivalent, if verbalised, would neglect to acquire past the Ad Standards Authority ( ibid ) . The genre and harmonic construction of the music used by Prudential is, in this instance, more of import than its specific individuality. Levi’s adverts having music by Babylon Zoo and Stiltskin in the 1990s show another attack: the usage of unknown music, with lower costs, to bring forth extra involvement among consumers. The vocals, played on wireless and Television out of context of the advert, still created psychological affect of Levi’s intension, deriving extra exposure for the trade name while besides assisting establish the callings of the soundtrack artists. The consequence was increased gross revenues for both parties. In other fortunes, a well-known vocal may be appropriate to run intoing an advertisement’s aims. In Labour’s recent advertizement, Dave the Chameleon is codification for the inconsistent positions of David Cameron, the Conservative leader. The usage of Culture Club’sKarma Chameleonnon merely refers to the ocular chameleon image, but is besides a well-known piece of music among people in their mid-thirtiess and mid-fortiess to whom Labour peculiarly want to appeal. The Guinness surfer’ advertizement uses much more extended intertextuality ; merely that refering the music is discussed below. The white Equus caballuss symbolise a metaphor ( white horses’ is sometimes used to mention to surf ) visually, while the membranophones represent it aurally, with intensions of thumping hooves. Simultaneously, the spoken text refers to the fat drummer’ , once more linking with the membranophone path and the hooves. The extent to which the membranophones have trade name intensions is problematic: they are taken from the Leftfield path Phat Planet’ , and possibly transport some of the praise of the creative persons, considered to be peculiarly advanced within the dance genre, but the path was non widely known before its usage in the advert. This may make the affect of elevated image for Guinness through its presentation of consciousness of this music: the advert, in consequence, has its ain subcultural capital. The music picture became a cardinal constituent in popular music in the late seventiess as portion of a heightened consciousness of the potency for blending media for commercial advantage: The rise of the video-clip encouraged †¦ blurring of the traditional stone distrinction between doing music and selling a trade good †¦the consequence of video-pop was to switch the balance between pop’s aural and ocular elements ( Frith 1990: 176 ) Music videos expose a scope of codifications associating to genre, proposing support of musical individuality instead than creative activity of it. For illustration, heavier stone manners are more likely to have footage of set public presentations. Authoritative FM Television shows a peculiar set of conventions: the performing artist ( s ) are typically filmed presenting a public presentation of the work and the context often features classical architecture, non needfully that of a concert hall, underscoring a sense of high culture’ . Much of the featured music uses elements of simple crossing over, for illustration, utilizing a stone or dad membranophone form behind an orchestral agreement, and this commixture of genres may be reflected in the styling of the performing artists. The vocalist Marina Laslo’s Caruso’ picture features her in a computer-generated opera house, have oning a formal eventide frock, but with heavy oculus makeup and windswept loose hair mor e in maintaining with a stone picture. Guns and Roses’ picture forSweet Child of Minedemonstrates how a conventional public presentation stone picture can be combined with another narrative through diegetic and non-diegetic devices. Clear, color images of the band’s public presentation, fiting the audio path ( i.e. diegetic ) , are juxtaposed with non-diegetic farinaceous images of set members off from the public presentation, fans and technicians doing the picture, supplying a narrative about the picture production every bit good as making a conventional picture. The multiple texts on occasion interact more vividly: for illustration, the word eyes’ in the words is underscored by farinaceous ocular footage of a fan’s eyes. The picture therefore maintains the intensions of genuineness through ocular portraiture of a conventional public presentation, while at the same time portraying an offstage’ , with the deduction once more of world and genuineness, supplying a farther aspect to the ban d’s image and a more interesting ocular experience. A cardinal inquiry sing music picture is the extent to which it is influenced by subculture and the influence it has on subculture. Research in the US suggests that the latter is the instance sing hiphop picture, which have developed a peculiar manner often pulling on overtly sexual dance by adult females for the benefit of male dad creative persons. A survey of 522 misss found a direct correlativity between the hours of such pictures seen over the class of a twelvemonth and degrees of drug and intoxicant usage, incidence of multiple sexual spouses and happening of STDs. This correlativity held when other facets such as societal background were taken into history ( Amber 2005 ) . It could be argued that as the stars in the pictures are admired for their musical prowess, the msuic confers acceptibility on and even condones the behavior seen in the ocular images. The inquiry of writing comes into drama with music picture, as constructs and way may be the duty of an person who is non involved with the musical composing: for illustration, Steve Barron was credited with the advanced attack to video for a-ha’sTake On Me, which combined conventional movie and life, with a narrative that provided a context for the wordss and gave them extra significance: the words became text Sung by the male character in the picture ( played by the band’s singer, Morten Harket ) to the female character as portion of the video’s story’ . TheTake On Mepicture is credited with establishing a-ha’s calling ( the vocal had been released twice antecedently, with a different picture ) : this may be due to frequent exposure through the media because of its ocular entreaty, conveying the vocal to the attending of those who might non otherwise have heard it. Alternatively, it may hold provided an extra dimension to the musical text and its sensed significance that made it more attractive to consumers, doing the affect critical in taking to the consequence of purchase. The creative person may still hold a grade of control through their public presentation, and may besides be to a great extent involved with the creative activity of the picture construct for their vocal: In a music picture the performing artist s frock, gestures, diction, and manner all become marks apt to interpretation†¦ Performers like Queen Latifah plan their ain pictures and work with their manufacturers and co-workers to make an image ( Roberts 1994 ) . Therefore music picture non merely straddles ocular and audio look, but besides the spheres of look and advertisement. It could be argued that adverts such as the Guinness surfer’ advertizement discussed earlier attack artistic look from a commercial sphere, with the state of affairs reversed for music picture. It has been argued that the whole point of a soundtrack mark is that it should be experienced and non heard ; that if we can actively hear the music, it is non working ( Blake 1997: 226 ) Surely there is some grounds that non all movie audiences actively register that music is attach toing the ocular and verbal elements of a movie ( Vitouch 2001: 71 ) . Howard Goodall, chiefly known for his Television subjects, emphasises a prioritising of ocular elements: Accept that if you are composing for Television or movie you are composing in a ocular medium and you are figure two ( Kingston 2000 ) . Film music ranges from the brief, unresolved pang of the stinger’ chord, a device widely used to underscore a sudden development in the action, peculiarly in horror movies, to the soundtrack vocal that becomes bound up in intending with the film’s narrative. In between is an extended repertory of music written specifically for movies, frequently composed so that musical devices coincide with specific frames. Less specificity is possible where preexistent pieces of music are used, but these may hold intensions of import to the narration: InWitness, the barn scene between Harrison Ford and Kelly McGillis sparked by Sam Cooke’s ( What a ) Wonderful World’requiresa vocal that will arouse a comparatively guiltless and unsophisticated cultural yesteryear ( the early sixtiess ) every bit good as supplying a clear coevals designation and a carefreeness for Ford’s character that is otherwise missing ( Stilwell 2002: 44 ) For bespoke movie music, the relationship between the movie manager and the composer may be more challenging. An nameless movie music composer describes the job of the director who doesn’t understand anything about music and is scared at the reference of a soprano clef or a crotchet – it’s about every bit near as he’ll get to music – but he knows what he wants in his mind†¦but he can’t pass on it to the composer ( Tagg 1980: 50 ) . Here there are illations of music picture in contrary: the movie is the primary text and the music secondary, while in music picture the music is the primary text. In both instances, the primary text is conceived prior to the secondary. Yet Marks argues that movie music is precisely that: a combination of movie and music and one can non be considered without the other ( Marks 1979: 283 ) . In ideal fortunes, the music creates synergism with the movie. This is the state of affairs with Isaac Hayes’ mark forShaft, which established musical codifications for portraiture of the urban landscape populated by the immature black mark audience: chattering, metallic wah-wah guitar†¦.opposition of funk beating against exuberant flutes and strings†¦ mapped a noirish vision of metropolis life, a mobile chase of sensualness through dirt, emphasis and elating speed ( Eshun 1995: 78 ) . These codifications were farther established in Curtis Mayfield’sSuperflymark every bit good as Television subject melodies such asKojak( Tagg 1979 ) . They were nevertheless, later appropriated by Hong Kong soldierly humanistic disciplines movies, and blaxploitation soundtracks looked to hiphop alternatively ( Eshun 1995: 78 ) . This shows the importance of positioning such movies through the associatory power of subcultural codifications. As codifications evolve, so excessivel y might impact and consequence within mark audiences. Yet many movies use the musical devices of Romanticism to back up a film’s narration. TheStar Warsmovies, for illustration, deploy leitmotif, peculiarly associated with Wagnerian opera. Indeed Evenson ( 2004 ) identifies a figure of similarities between theStar Warshexology and Wagner’sRingingrhythm non merely in secret plan and construct, but in similarities between leitmotif of characters with similar functions. For the classical composer, there are clearly analogues between the opera and the film-with-music genres, and the leitmotif provides an chance to underscore the personality and function of a character. The temper of the music non merely helps make an feeling of character, but besides builds context in a manner that visuals entirely may non be able to. This was demonstrated in a survey where groups of topics were shown the same piece of movie, with the original, upbeat/neutral Rozsa mark for one half of the sample and Barber’s more melancholyAdagio for Stringsfor the other half. The topics were so asked what was go oning in the scene and where the secret plan would take, and the consequences showed a doubling of negative affect when the Barber version was shown ( Vitouch 2001 ) . This does, nevertheless, depend on certain musical conventions, such as the association of a minor key with a negative temper. In civilizations where such conventions are less established, it is likely that the consequences would be different. The soundtrack vocal can get extra significance in a similar manner to music picture. The picture for Celine Dion’s My Heart Will Go On characteristics merely really brief infusions from the movie but the music alludes to the movie narrative, with an Irish ( uillean ) pipe consequence implying the male hero’s Irish individuality. For those familiar with the movie, the extra intension of tragic narrative and the hero’s decease may rise affect. Television has appropriated musical devices common to movie and advertisement e.g. the horror movie stinger’ used inHow Clean is Your Houseto mean bacteriums or insect infestations. Certain tendencies are noteworthy across a scope of programmes: for illustration, a alteration of topic in a light amusement programme such asCash in the Atticor60 Minute Makeoveris marked by a brief jangle or motive, with a musical backup to a non-diegetic verbal commentary which is cut for any diegetic address. Music is used to make involvement when there is small go oning verbally in many programmes ; a long-standing illustration is the half infinitesimal piece attach toing each mystifier onCountdown, which builds through lifting keys to make tenseness, culminating with a syncopated ostentation. Music is besides used for stigmatization: Channel Four has a four-note motive. BBC1, meanwhile, has a two-phrase melodious subject used for fluctuations in at least 10 different musical manners, with sympathetic dance-routines and an accent on the colors ruddy, white and black in the dancers’ outfits to reenforce stigmatization. It is noteworthy that, although these tableaus are played instantly anterior to programmes, the manner of music and any subcultural deductions appear to be random instead than matched to the mark audience of the undermentioned programme. Programs, TV’s products’ , are branded by theme melodies: these have the double intent of a call to action ( if heard from another room, the spectator will frequently recognize the subject melody of a programme they want to watch and be able to come to a sing country ) and coding for the type of programme. Thus assortment and peak clip confab shows typically have large set music, a lively manner without narrow subcultural intensions, therefore underscoring comprehensiveness of mark audience. Musical fragments may besides get their ain significance: the membranophone round motive at the terminal of each episode ofEastendershas become a musical codification to denote a cliffhanger’ . Although Television and film are the chief established audiovisual media, more recent engineering has extended its range. The cyberspace and computing machine games are progressively deploying more sophisticated background music, and display many of the techniques described in the old subdivisions. The stigmatization of games, for illustration, has of import subcultural elements, as observed by David Pokress, planetary trade name director for Activision Inc. : It’s non merely about the games, it’s about the life styles that accompany them ( Satzman 2001 ) . The illustrations above shows the broad scope of applications of music combined with ocular image, from adding significance, impacting reading of ocular elements, confabulating value onto a merchandise and assisting make an individuality, whether for a auto in an advert or for a character in a movie. The ocular narration, meanwhile, can reciprocate by adding significance to music e.g. through the ocular narration of a music picture. The affect and consequence depend to a great extent on the audience’s acquaintance with a scope of cultural and subcultural codifications, and the analysis of the creator’s purpose may be different to an analysis of response: A text is made of multiple Hagiographas, drawn from many civilizations and come ining into common dealingss of duologue, lampoon, controversy, but there is one topographic point were this multiplicity is focused and that topographic point is the reader, non, as was hitherto said, the author ( Barthes 1977: 148 ) . The many illustrations of music and ocular image interacting show the importance of reading every bit good as creative activity, and demo the broad scope of possible that music and image have to make significance, affect and consequence through their interaction – and the importance of understanding this for all those working in assorted media. 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The Shifting Actions of a Rising Government essays

The Shifting Actions of a Rising Government essays During the late 1880s and early 1900s many struggling groups of people went to the government to gain support on improving their economic or social status. It was federal or judicial actions that either stood in the way of progress or helped to make the progress that these groups of people believed that they deserved. This is the case with both the African Americans and the workers of the time. Both of these groups were being detained from the goals that they strived for or given help from the government and its laws. Although the Civil War had been over for many years, African Americans still seemed to be suffering from the discrimination they received. However, there were many African Americans who stood up for their culture and strived to change things. After the Civil War, white southerners were back in the political seat, and daily discrimination towards blacks grew largely. Separation between blacks and whites developed during the 1890s into systematic state-level legal codes of segregation. These laws soon became known as the Jim Crow laws. In 1896 the Supreme Court validated the South's segregationist social order in the Plessy vs. Ferguson case. This case ruled that "separate but equal" facilities were constitutional under the 14th Amendment, which stated, "equal protection." However, in reality there was no equal part to the segregation of blacks and whites. One place they were separated unequally was in schools. With most of the African American population in the South and ma ny being illiterate, the education of black children suffered greatly. The federal government seemed to want to do nothing about this situation and a man by the name of Booker T. Washington helped to promote African American education in the South. Another man, Dr. W.E.B. Du Bois had a great deal of influence on the political issue of black-white equality. He demanded that blacks have complete equalityboth socially and economically. ...

Im a Caregiver How Do I Have Time to Write

Im a Caregiver How Do I Have Time to Write Sixty-five million (29 percent of) Americans are caregivers, spending an average of 20 hours a week caring for a loved one. Perhaps you’re one of them. The demands are often so great, you wonder how you can ever have time to write. I’ve been a caregiver since 1984 when my husband retired at the age of 48 after a massive heart attack. I also helped care for my stepdad and elderly uncle until their deaths, and am now helping my widowed sister who’s losing her eyesight. During that time I’ve published nine books, along with articles and short stories. Here are some hints that may help a writing caregiver: 1. Write when you can. Seldom can caregiver writers rely on having a whole day to write. But if possible, get up 15 minutes earlier or stay up 15 minutes later. Fifteen minutes a day, five days a week, adds up to sixty-five hours a year - and thats a lot of extra time to write. Write when your loved one is taking a nap. Use the time you spend waiting in line at the supermarket to read the titles on magazine covers to see what type of articles they use on a regular basis. Watch and listen to the people around you. (This is a good idea in a doctors office too.) Don’t complain if you don’t have time to write. I moaned about this fact after my husband had an especiallybad year healthwise, and I sensed a quiet voice within saying, â€Å"Someday you’ll have all the time you want, and you won’t want it.† 2. Write where you can. I’ve written and edited in doctors’ offices. The ICU my husband was in over Christmas one year had a built-in desk in the corner, giving me a place to work. If you can find a family member or friend to relieve you one or two hours a week, take your laptop to the public library or a near 3. Write any way you can. Flying out-of-state to care for my mother after her cancer surgery, I handwrote three short stories on the plane, typing them up when I got to my hometown. When I returned home eight weeks later, I found checks waiting. Up until that time I felt I had to be at my keyboard to write. 4. Write what you can. Use your caregiver experiences as springboards for short stories, articles, or books. I wrote one article titled â€Å"Living with a Disabled Husband† (later re-titled â€Å"When Your Golden Years Aren’t Golden†) which has sold a number of times in religious and secular publications. My book The Freedom of Letting Go contains a chapter on letting go of health issues that includes caregiver stories, and I’m now working on a book for caregivers. Sharing your experiences and what you’ve learned through caregiving can help a lot of readers as they know that you’ve been there, done that. 5. Take notes. If you simply cannot find the time to write, at least jot down ideas and outlines. Then when those precious free moments appear, you won’t find yourself staring at a blank screen. Being a caregiver doesn’t mean you have to give up writing which can lead to resentment. It just means you use your time wisely. Taking time to do what you feel called to do and what you enjoy doing will make you a more loving caregiver - and a more insightful writer.