Rules and Best Practices for Writing Paragraphs

The definition of a paragraph: Its a group of closely related sentences that develops a central idea, conventionally beginning on a new line, which is sometimes  indented. The paragraph has been variously defined as a subdivision in a longer written passage, a group of sentences (or sometimes just one sentence) about a specific topic, and a grammatical unit typically consisting of multiple sentences that together express a complete thought. In his 2006 book A Dash of Style, Noah Lukeman describes the paragraph break as one of the most crucial marks in the punctuation world. Etymology:  Paragraph is from the Greek word which means to write beside. Observations A new paragraph is a wonderful thing. It lets you quietly change the rhythm, and it can be like a flash of lightning that shows the same landscape from a different aspect. (Babel, Isaac interviewed by Konstantin Paustovsky in Isaac Babel Talks About Writing, The Nation, March 31, 1969.) 10 Effective Paragraph Criteria Lois Laase and Joan Clemmons offer the following list of 10 helpful suggestions for writing paragraphs. This is adapted from their book, Helping Students Write... The Best Research Reports Ever: Easy Mini-Lessons, Strategies, and Creative Formats to Make Research Manageable and Fun. Keep the paragraph on one topic.Include a topic sentence.Use supporting sentences that give ​details or facts about the topic.Include vivid words.Make sure it does not have run-on sentences.Include sentences that make sense and stick to the topic.Sentences should be in order and make sense.Write sentences that begin in different ways.Make sure the sentences flow.Be sure sentences are mechanically correct — spelling, punctuation, capitalization, indentation. Topic Sentences in Paragraphs Although the topic sentence is often the first sentence of the paragraph, it does not have to be. Furthermore, the topic sentence is sometimes restated or echoed at the end of the paragraph, although again it does not have to be. However, a well-phrased concluding sentence can emphasize the central idea of the paragraph as well as provide a nice balance and ending. A paragraph is not a constraining formula; in fact, it has variations. In some instances, for example, the topic sentence is not found in a single sentence. It may be the combination of two sentences, or it may be an easily understood but unwritten underlying idea that unifies the paragraph. Nevertheless, the paragraph in most college writing contains discussion supporting a stated topic sentence.... (Brandon, Lee. At a Glance: Paragraphs, 5th ed., Wadsworth, 2012.) Rules of Paragraphing As an advanced writer, you know that rules are made to be broken. But that is not to say that these rules are useless. Sometimes it is good to avoid a one-sentence paragraph — it can sound too brisk and implies a lack of penetration and analysis. Sometimes, or perhaps most of the time, it is good to have a topic sentence. But the awful fact is that when you look closely at a professional writers work, you will see that the topic sentence is often missing. In that case, we sometimes say it is implied, and perhaps that is true. But whether we want to call it implied or not, it is obvious that good writers can get along without topic sentences most of the time. Likewise, it is not a bad idea to develop only one idea in a paragraph, but frankly, the chance of developing several ideas often arises and sometimes doing so even characterizes the writing of professionals. (Jacobus, Lee A. Substance, Style, and Strategy, Oxford University Press, 1998.) Strunk and White on Paragraph Length In general, remember that paragraphing calls for a good eye as well as a logical mind. Enormous blocks of print look formidable to readers, who are often reluctant to tackle them. Therefore, breaking long paragraphs in two, even if it is not necessary to do so for sense, meaning, or logical development, is often a visual help. But remember, too, that firing off many short paragraphs in quick succession can be distracting. Paragraph breaks used only for show read like the writing of commerce or of display advertising. Moderation and a sense of order should be the main considerations in paragraphing. (Strunk, Jr., William and E.B. White, The Elements of Style, 3rd ed., Allyn Bacon, 1995.) Uses of One-Sentence Paragraphs Three situations in essay writing can occasion a one-sentence paragraph: (a) when you want to emphasize a crucial point that might otherwise be buried; (b) when you want to dramatize a transition from one stage in your argument to the next; and (c) when instinct tells you that your reader is tiring and would appreciate a mental rest. The one-sentence paragraph is a great device. You can italicize with it, vary your pace with it, lighten your voice with it, signpost your argument with it. But it’s potentially dangerous. Don’t overdo your dramatics. And be sure your sentence is strong enough to withstand the extra attention it’s bound to receive when set off by itself. Houseplants wilt in direct sun. Many sentences do as well. (Trimble, John R. Writing with Style: Conversations on the Art of Writing. Prentice Hall, 2000.) Paragraph Length in Business and Technical Writing A paragraph should be just long enough to deal adequately with the subject of its topic sentence. A new paragraph should begin whenever the subject changes significantly. A series of short, undeveloped paragraphs can indicate poor organization and sacrifice unity by breaking an idea into several pieces. A series of long paragraphs, however, can fail to provide the reader with manageable subdivisions of thought. Paragraph length should aid the readers understanding of idea. (Alred, Gerald J., Charles T. Brusaw, and Walter E. Oliu, The Business Writers Handbook, 10th ed., Bedford/St. Martins, 2012.) The Paragraph as a Device of Punctuation The paragraph is a device of punctuation. The indentation by which it is marked implies no more than an additional breathing space. Like the other marks of punctuation...it may be determined by logical, physical, or rhythmical needs. Logically it may be said to denote the full development of a single idea, and this indeed is the common definition of the paragraph. It is, however, in no way an adequate or helpful definition. (Read, Herbert. English Prose Style, Beacon, 1955.) Scott and Dennys Definition of a Paragraph A paragraph is a unit of discourse developing a single idea. It consists of a group or series of sentences closely related to one another and to the thought expressed by the whole group or series. Devoted, like the sentence, to the development of one topic, a good paragraph is also, like a good essay, a complete treatment in itself. (Scott, Fred Newton, and Joseph Villiers Denny, Paragraph-Writing: A Rhetoric for Colleges, rev. ed., Allyn and Bacon, 1909.) Development of the Paragraph in English The paragraph as we know it comes into something like settled shape in Sir William Temple (1628-1699). It was the product of perhaps five chief influences. First, the tradition, derived from the authors and scribes of the Middle Ages, that the paragraph-mark distinguishes a stadium of thought. Second, the Latin influence, which was rather towards disregarding the paragraph as the sign of anything but emphasis — the emphasis-tradition being also of medieval origin; the typical writers of the Latin influence are Hooker and Milton. Third, the natural genius of the Anglo-Saxon structure, favorable to the paragraph. Fourth, the beginnings of popular writing — of what may be called the oral style, or consideration for a relatively uncultivated audience. Fifth, the study of French prose, in this respect a late influence, allied in its results with the third and fourth influences. (Lewis, Herbert Edwin. The History of the English Paragraph, 1894.) 19c writers reduced the lengths of their paragraphs, a process that has continued in the 20c, particularly in journalism, advertisements, and publicity materials. (McArthur, Tom. Paragraph. The Oxford Companion to the English Language, Oxford University Press,  1992.)

Analysis Of Leo Tolstoy s The French Artist - 1258 Words

Leo Tolstoy’s aesthetical assessment of art, and the role progress plays in regards to it, contrast greatly from that of the French artist, Marcel Duchamp. However connections can be made between their various aesthetical art theories, including in a way, the relationship the art has with the viewer. Although the audience’s role is radically different to each, it is essential component to both, Duchamp’s and Tolstoy’s aesthetical theories. Tolstoy approaches the aesthetic view of art as a necessity to society. He sees art as one of the fundamental forms of intercourse between mankind. One of the most effective ways to exchange ideas and emotions is through art. It can transcend language, and time to purvey a message in a manor that is unable to be done in any other fashion. Tolstoy arguably sees something as art, if and only if the artist is able to purvey a feeling or emotion to the spectator, that the artist has felt prior, and then infects them (the a udience) with that desired feeling or emotion. This is connected to Duchamp’s idea of art, but contrasts greatly in that the relationship with the artist to the art is diminished. While the art must conjure an interactive response from the spectator, the artist’s role in conveying that particular response should be minimal to none, according to Duchamp. This is the exact opposite of Tolstoy. Without the artist forcing a strict idea of what the desired outcome of the artwork is going to be on theShow MoreRelatedAnalysis of Leo Tolstoy and His Work How Much Land Does a Man Need?2543 Words   |  11 PagesHow Much Land Does A Man Need?, by Leo Tolstoy was influenced by his life and times. Leo Tolstoy encountered many things throughout his life that influenced his works. His life itself influenced him, along with poverty, greed and peasant days in 19th century Russia. br brTolstoys eventful life impacted his works. Leo Nikolayevich Tolstoy was born into a family of aristocratic landowners in 1828 at the family estate at Yasnaya Polyana, a place south of Moscow. His parents died in the 1930sRead MoreCleanth Brookss Essay Irony as a Principle of Structure9125 Words   |  37 PagesMarx’s economic theories as such: we shall confine our discussion to their methodological premises and implications. It will in any case be obvious to the reader that the present writer upholds the validity of their content. Secondly, a detailed analysis of Rosa Luxemburg’s thought is necessary because its seminal discoveries no less than its errors have had a decisive influence on the theories of Marxists outside Russia, above all in Germany. To some extent this influence persists to this day. ForRead MoreHerbert Spencer Essay13142 Words   |  53 Pagesthought dominated American universities. The last of those decades, the 1890s, produced the revolution in e ducational thought and psychology led by William James and John Dewey, Stanley Hall, and E. L. Thorndike, all influenced by Spencer. In Britain, J. S. Mill backed financially the subscription scheme that launched Spencers work, and the scientists supported him too. Charles Darwin wrote, After reading any of his books I generally feel enthusiastic admiration for his transcendental talents, but added

What is organizational behavior Free Essays

Study of the impact Individuals, groups, and structure has on behavior within an organization. This Is studied by managers to improve an organizations work environment to find methods to increase the bottom line. Basically it is a study of the way people act within an organization when exposed to different elements such as leadership styles, behaviors of others, and Incentives. We will write a custom essay sample on What is organizational behavior or any similar topic only for you Order Now 2. Moscow theory hierarchy of needs? Physiological- Basic needs or body needs; food, water, shelter, sex, and other. Safety = security and protection. Social = Affection, belongingness, acceptance, and friendship. Esteem = Internal factors such as self- respect, autonomy and achievement. Self-actualization = Drive to be all we can be. As each need Is satisfied the next becomes dominant 3. What Is the four functions of Management? Planning, Organizing, Leading, and controlling are the four functions of management. Planning is defining goals and the overall strategy to achieve those goals with a developed and integrated plan to achieve the goals. Organizing is the designing of an organizations structure including task and who will accomplish the task. Leading Is managements ways of motivating Its employees and directing their activities selecting means of communications and resolving conflicts. Chapter 1 1 . Management= one who achieves goals through others vs. Leader = of motivating Its employees and directing their activities selecting means of communications and resolving conflicts. 2. What Is Stress = A dynamic condition in which and Individual is confronted with an opportunity a demand or a resource related to what the Individual desires and for which the outcome is perceived to be both uncertain and important Chapter 2 Sexual Harassment = Unwanted sexual advances Ability = An Individual’s ability to perform the various task In a Job Chapter 3 1 . Job Involvement= Really care about what the work they do vs. Job satisfaction= One who holds positive feelings about there Job. Low negative feelings 2. Cognitive dissident = Car story – I don’t like us cars, change mind when given late model ford. 3. Impact of Job satisfaction- Exit, Voice, Loyalty, Neglect 4. Personality- Sum of total ways an Individual reacts or Interacts with others Class Notes Chapter 4 1 . Emotion- Short lived, Specific event, Facial expression, action in nature 2. Moods – Longer, Caused general, No distinct expression, Cognitive 3. Positively offset – Normal situation the average person is in a positive mood. . Illusory correlation- People associate two event to their mood has no correlations 5. Emotional Dissonance – Show one emotion and feel the other. Hiding Chapter 5 1 . Briggs = Personality assessment- Extrovert Vs. Introvert, Sensing Vs. Intuitive, Thinking Vs. Feeling, Judging vs. Perceiving 2. Proactive personality = Identify opportunity, show Initiative, take action, preserver to the end 3. Values perceptions -?Process by which Individuals organize and Interpret their sensory Impression In order to give meaning to their environment. Chapter 6 FIFO Halo effect= One opinion shows whole character. General impression with a single characteristic. . Contrast effect= evaluations of a person’s character that is affected by comparisons with others people recently encountered who rank higher or lower on the same characteristics 4. Self-fulfilling prophecy’= person inaccurately perceives a second person and the resulting expectations cause the second person to behave in ways consistent with the original perception 5. Stereotyping preconceived notions= 6. Rational decision making= a decision making model that describes how individuals should behave in order to maximize some outcome. Chapter 7 1 . Motivation – accounts for intensity, direction, persistence 2. Theory X -assumes employees don’t like Job 3. Theory Y – assumes employees like work 4. Goal Setting theory – If the employees are involved, Goals are achievable and production is up 5. Management by objectives – Tangible verifiable, and measurable 6. Self Chapter 8 1 . Job design- The way the elements in a Job are organized 2. Job Enrichment- expands the Job so the employee controls the planning, execution and evaluation 3. Job Rotation- Moving around Cross-train 4. Employee Involvement- more involved, more productive employees 5. Participative management- Joint decision making Vs. Representative participation – workers are represented in a small group (Union). Chapter 9 1 . Formal Group- Organized, Such as work group 2. Informal Group – No Formally structured nor organized 3. ESSAY – Five-stage Model Forming- Beginning of group Storming- Accept existence of group but are working out the kinks Morning-setting standards Performing- Work get done Adjourning- Job completed 4. Role- What is expected by an organization 5. Role Perception – What you think your role is 6. Norms – Standards so you know when people are outside the norm set by leaders 7. Deviant workplace Behavior- behavior that violates organizational norms. 8. ESSAY – Group vs. Individual Strengths of group decision is from many, Increase diversity, more knowledge. Individual – Expeditious, single point of success 9. Social Loafing- Expend less effort when working in a group-causing cacaos Chapter 10 1 . Work group – Primarily to share information 2. Work Team – Set Goal Accomplishment work on a project to get something done 3. Teams – Problem solving – Particular problem, Self-managed worked team work as lead- Cross-functional team-to use different team sets. Virtual – distance 4. Willing to adjust . Team Efficacy – Team believes they can accomplish goals Chapter 1 1 1 . What is communications? Transferring and understanding of meaning. 2. Formal and Informal Channels of communication 3. Formal- Professional 4. Informal- Socializing 5. Downward Communication – Explaining to Subordinate 6. Upward – Up the Chain of command 7. Lateral Communication – Peer to Peer – Team to Team 8. Essay -Discuss the difference between interpersonal communication and organizational communication. Oral written nonverbal / Organizational conduct business one to many documented email. Blobs. 9. Oral, Written and Non-verbal. Identify the pros and cons of interpersonal communication. 10. Information overload – Communication overload. 11 . Channel Richness – The amount of information that can be communicated to a certain number of people at one episode 12. Filtering -a senders manipulation of information so that it will be seen more favorable by receiver 13. Cultural Context- High and Low for global organizations you need to know the difference between High and Low. Chapter 12 1 . Leadership- Ability to influence a group toward the achievement of a vision or set of goals 2. Employee oriented leader- 3. Production oriented leader- 4. Situational Leadership theory – Theory that focuses on followers readiness 5. Path Goal Theory- A theory that states that it is the leader’s Job to assist followers in attaining their goals and to provide the guidance to their goals. 6. Charismatic Leader a leader that has visions and risk-taker 7. Transactional Leaders- Guide followers to established goals clarifying goals and tasks 8. Transformational leader- spire followers transcend their own self-interest and who are capable of having a profound and extraordinary Chapter 13 1 . Power is a capacity to influence the behavior of other 2. Power = Requires follower dependency . How to cite What is organizational behavior, Papers

The Role of Government Safeguarding the Health of NFL Players

Question: Explain the Role of Government in Safeguarding the Health of NFL Players? Answer: Literature Review An important injury for the football players who play professionally is known as concussion. The management, prevention and diagnosis of concussion are very important to the National Football League, its member clubs and players and the NFL Players Association. The NFLs Neck, Spine and Head Committee have evolved as an extensive tool of protocols for the management and diagnosis of concussions in the National Football League players. The management and diagnosis of concussion is often complicated by the problem in identifying or locating the injury along with the individual and complex nature of managing the injury (Thompson, 2013). The following problems need to be discusses in detail: Concussion policies of the National Football League: Revisiting the Sports Administrators Charter and the role of Australian Football League ad National Rugby League in concussion management An article was published in the Sports Law Journal in the year 2011. In this particular article, the authors have pointed out that the United States are not succeeding to protect the NFL players. This clearly shows the inefficiency of the US Government. It raises various questions about the responsibilities of the government in safeguarding the National Football League players from health related injuries and fatal injuries. The researcher needs to compare the alleged failure of NFL with the lawsuit like Big Tobacco. The main aim of this particular research was to keep a check on the responsibility of the US government towards the NFL players. The researcher has also reviewed the concussion management policies of the Australian Football League (AFL) and the National Rugby League (NRL) as well. The AFL and the NRL has also adopted various strategies to prevent their players from different concussions. They are going hand in hand with the NFL to safeguard the interests of their players (Strain et al. 2013). The Impact of Preemption in the NFL Concussion Litigation Another journal was published in the Social Science Research Network (SSRN) in the year 2013. It is found lately that the concussion rate has rapidly increased among the National Football League players. The researcher has shown that there are several lawsuits (81 to be precise), which are filed against the players of NFL regarding the rate of concussion. The former players settled mutually in the year 2013, where it was made clear that the NFL will give away $765 million to the players for their own benefit. The US government helped them to implement the new policies and laws that could further help in compensating the National Football League players whenever required. The research has also been argumentative in certain aspects. Some of them believed that the US government is not responsible for bearing such huge amounts for the fatal injuries of the National Football League players (Drysdale, 2013). Injury, pain and use of prescription among the former National Football League players This particular paper was published in 2011 (Science Direct). The background mainly deals with the various types of injuries faced by the football players during the National Football League. The researchers took help of the telephone survey of the National Football League players. The survey showed that the football players of the NFL, whose talents were not properly recognized during the National Football League, are now compared mostly with the other players of the National Football League. It is also found that their pain during the NFL was much less as compared to the present scenario of the NFL players. Currently, they are more misused in the context of concussions and heavy drinking. The retired National Football League players are misusing the powers and the government seems to have no control over them. This is argumentative from the perspective of the US government. They should implement more strict policies to keep a control on matters like this (Mann, 2014). NFL drug policy and Harm reduction This particular article or paper was published in the Sports and Social Issues journal of 2013. This article aims at finding out the policies that are used by the players of the National Football League to reduce the harm caused from the illicit psychoactive drugs. Various policies were implemented by the National Football League to reinforce or add to the tradition of penalizing those who used drugs and the US government further initiated those policies. The drug policies mainly focused on the drug testing process and they require and need self-restraint from use of the illegal drugs. This context clearly portrays that the National Football League punished the players who used the illicit and illegal drugs. The punishment was suspension from the employment and at times, it resulted in deduction from the payment of the employees. On the other hand, it is the responsibility of the National Football League as well as the government of USA to implement few strategies to keep control ove r the harm reduction of the players of NFL. The researcher has analyzed three cases of suspension of players from the perspective of reducing harm. It also shows the procedure to carry out the process of harm reduction among the players of NFL (Edelman, 2013). Tackling the NFL: An analysis on the role of the US government in workplace safety The Duke University Libraries published this particular article in 2014. The researcher aimed at analyzing the role of the federal government of USA in relation to the reduction of the crisis faced by the NFL in terms of concussion. The private sector also indulged with the federal government to improve the safety and health of the National Football League players. It was also found by the researcher that the government had previously intervened in the sports industry to solve several issues. However, no significant impact was found on the legislation of concussion. Three case studies have been stated by the researcher that can easily act as a guide to the intervention policies of the government in terms of concussion crisis. Football is considered a unique and genuine industry and the concussions or the issues related to health are not properly intervened by the US government. The government still needs to adopt few strategies to safeguard the interests of the National Football Leag ue players (Jenkins, 2012). References Didehbani, N., Munro Cullum, C., Mansinghani, S., Conover, H., Hart, J. (2013). Depressive Symptoms and Concussions in Aging Retired NFL Players.Archives Of Clinical Neuropsychology,28(5), 418-424. https://dx.doi.org/10.1093/arclin/act028 Drysdale, T. (2013). Helmet-to-Helmet Contact: Avoiding a Lifetime Penalty by Creating a Duty to Scan Active NFL Players for Chronic Traumatic Encephalopathy.Journal Of Legal Medicine,34(4), 425-452. https://dx.doi.org/10.1080/01947648.2013.859969 Edelman, M. (2013). Disarming the Trojan Horse of the UAAA and SPARTA: How America Should Reform its Sports Agent Laws to Conform with True Agency Principles.Harvard Sports and Entertainment Law Journal,4(2), 145-189. Jenkins, E. F. (2012). Only the Headstrong Survive: The Tragic Course of Head Injury Claims under the Bert Bell/Pete Rozelle NFL Player Retirement Plan.Syracuse L. Rev.,63, 327. Mann, J. (2014). Reliability of the NFL-225 Test and 3 Repetition Maximum Test in College Football Players.J Athl Enhancement,03(03). https://dx.doi.org/10.4172/2324-9080.1000154 Strain, J., Didehbani, N., Cullum, C., Mansinghani, S., Conover, H., Kraut, M. et al. (2013). Depressive symptoms and white matter dysfunction in retired NFL players with concussion history.Neurology,81(1), 25-32. https://dx.doi.org/10.1212/wnl.0b013e318299ccf8 Thompson, S. (2013). NFL Combine Players with Hip Pain Have a High Rate of Radiographic-Evident FAI.JBJS Orthopaedic Highlights: Sports Medicine,3(5), e1. https://dx.doi.org/10.2106/jbjs.sm.m.00164

The Love Song of A J Prufrock Essay Example For Students

The Love Song of A J Prufrock Essay These lines present an image of calmness or stillness. Spread out is used to give a feeling of openness. The word etherised gives a feeling of stillness, as a patient under anesthesia, which flows along with the feeling of calmness that was presented in the previous line. The simile can also be connected to the later phrase : When I am formulated, sprawling on a pin (line 57) which signifies Prufrocks vulnerability. Let us go, through certain half-deserted streets, This sentence creates images of shady deserted alleys. The word certain shows that Prufrock is aware of his destination, and he is urging his lover to follow him. We will write a custom essay on The Love Song of A J Prufrock specifically for you for only $16.38 $13.9/page Order now The muttering retreats Of restless nights in one night cheap hotels. In this context, retreat can mean a sanctuary or a place of hiding for Prufrock. He is perhaps running away from the harsh realities of his life. In these lines, he seeks retreat in the one night cheap hotels. The word muttering is used in place of e.g. murmur because muttering creates a feeling of shadiness and suspicion. It creates an image of spies whispering to one another in secret. This word is used in order to show how Prufrock is hiding from his outside life. The phrase one night cheap hotels represent a one-night stand, and it is a place where he would take a prostitute and not a respectable lady. Thus, Prufrock is currently in the company of someone of lower stature, like a prostitute. And sawdust restaurants with oyster shells; The conjunction and used in the beginning signifies that the restaurants are part of his retreat. The term sawdust indicates that it is a cheap and shoddy restaurant, where perhaps none of the upper class would visit. The oyster shells can be seen as an aphrodisiac. It fits into the entire notion of his retreat, as an image of a shady cheap restaurant under a deserted hotel. He could have been feeding his lover the oyster shells (aphrodisiac) in order to set her into the mood of the night ahead. Streets that follow like a tedious argument Of insidious intent This phrase brings to mind the image of a long, winding, indirect road. The term tedious argument creates a feeling of never ending conflict and confusion. This could represent Prufrocks path in life. The term insidious intent creates the sense that the streets lead to a bad or sly purpose. Thus, he is using his lady merely for his own intent. To lead you to an overwhelming question Oh do not ask, What is it? Let us go and make our visit. Within this context, the overwhelming question is What is it? Prufrocks lover is questioning his current mood. Perhaps she knows that he is being very reserved, and is not revealing everything to him. And she suspects that he is merely using her for his own reasons (sex). Prufrock does not answer her, which could signify that she had hit the truth right on the dot. Prufrock merely brushes her question away and urges her to go to the hotel with him. In the room the women come and go Talking of Michelangelo In the beginning, the above lines do not seem to fit in with the preceding stanzas. However, upon closer interpretation, the first appearance of this stanza could be demonstrating the erotic and darker side of Michelangelo, as opposed to the next mention of it which later represents the more professional and respected side of Michelangelo. So now, instead of the women talking of someone besides Prufrock, Michelangelo is Prufrock. The room in which the women are in could be a brothel room or the cheap hotel room that he is currently in. The room could represent the place and all the women whom he have slept with before. They are talking about Michelangelo because like Prufrock, he was unmarried and had no children. T.S.Eliot used the mention of Michelangelo as he was a famous painter, and thus the reader would be able to recognize who he is. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes, Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls on chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. T.S.Eliot uses the mention of a yellow fog in this stanza to represent a cat, which in this context, represents a sensual and erotic animal in its movements. Thus, this entire stanza is a sensual connotation. The yellow fog creates a sense of disgust and dirtiness, and can also be used in the context of a coward, as a coward can often be called yellow-bellied. Thus, in a way, Prufrock is the fog, as he is cowardly enough to use his lady through insidious intent. The corners of the evening creates an image of dark shady places, and it is the certain half-deserted streets that Prufrock led his lover through. Thus, in a way, this entire stanza represents what has just happened before in the previous few stanzas. The soot could represent the prostitute, as soot is unclean and trash like. The last lines slipped by a terrace, made a sudden leap represents the act of lovemaking itself. The last line curled once about the house, and fell asleep represents the resolution of sex. .u3b5651ac1ec3b28792a802b7070d962b , .u3b5651ac1ec3b28792a802b7070d962b .postImageUrl , .u3b5651ac1ec3b28792a802b7070d962b .centered-text-area { min-height: 80px; position: relative; } .u3b5651ac1ec3b28792a802b7070d962b , .u3b5651ac1ec3b28792a802b7070d962b:hover , .u3b5651ac1ec3b28792a802b7070d962b:visited , .u3b5651ac1ec3b28792a802b7070d962b:active { border:0!important; } .u3b5651ac1ec3b28792a802b7070d962b .clearfix:after { content: ""; display: table; clear: both; } .u3b5651ac1ec3b28792a802b7070d962b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u3b5651ac1ec3b28792a802b7070d962b:active , .u3b5651ac1ec3b28792a802b7070d962b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3b5651ac1ec3b28792a802b7070d962b .centered-text-area { width: 100%; position: relative ; } .u3b5651ac1ec3b28792a802b7070d962b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3b5651ac1ec3b28792a802b7070d962b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3b5651ac1ec3b28792a802b7070d962b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u3b5651ac1ec3b28792a802b7070d962b:hover .ctaButton { background-color: #34495E!important; } .u3b5651ac1ec3b28792a802b7070d962b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3b5651ac1ec3b28792a802b7070d962b .u3b5651ac1ec3b28792a802b7070d962b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3b5651ac1ec3b28792a802b7070d962b:after { content: ""; display: block; clear: both; } READ: A Small Elegy Poem EssayAnd indeed there will be time For the yellow smoke that slides along the street Rubbing its back upon the window-panes; In these lines, Prufrock changes his attitude into a more restrained manner. He is stating that there will be enough time for him to have sex now, and that he need not rush. It is as if he has developed a more reluctant and hesitant behaviour towards the events in his life. There will be time, there will be time To prepare a face to meet the faces that you meet; In this line, he states that there will be a time to prepare a mask in order to meet people. This could be placed in context with Prince Hamlet, as in Hamlet, the prince had to pretend to mask himself in insanity in order to fool the people around him. Thus, Prufrock can be attempting to hide his true self ( that of vulnerability, of indecisiveness) to the people around him. And the statement of faces that you meet suggests that everyone else he meets also wears a mask to hide who they are. There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; These three lines give a sense that Pufrock feels he has control over when he wants to do things. There will be time gives a relaxed feeling, in which nothing is rushed. The mention of the works and days of hands convey an image of the hands of a clock; thus, Prufrock is basically saying that there will be time in order to e.g. ask the question, etc. Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of toast and tea. This stanza continues the feeling of limitless time. And here he says that there is time for him to make visions of his decisions, before the taking of toast and tea. That is, the final decision is made. However he actually does not possess this much control over time as he so confidently stated in this stanza and the previous three lines, because he later says I grow old, I grow old.(line 120). More Comments T.S.Eliots presents his poem The Love Song of Alfred J.Prufrock in such a way that it captures and binds the audiences attention throughout the entire duration of the poem. First of all, he uses a variety of lengths for his stanzas. For example, the first stanza is as long as 12 lines but the second stanza is only a mere 2 lines. This avoids a sense of repetition as it is not the same length over and over and over again. Eliot also uses the technique of iambic pentameter in most of his lines. For example, Of rest/less nights/ in one/night cheap /hotels creates a rhythm rather like a drumbeat. It sets the pace for the most part of the poem, making it seem as if Prufrock is emitting a steady flow of his thoughts. This allows the reader to create an image of Prufrock as being an introvert, or a person who is more likely to think things over very carefully in his mind before saying it aloud. This can be supported by Prufrocks claim that he is cautious and meticulous. He also measures out his life in coffee-spoons, which demonstrates how he is very careful and precise in his endeavor of daily events. Also, with the use of rhyming Eliot creates a flow of Prufrocks thoughts from one to another. For example, one of the uses of the name Michelangelo could be that Eliot wished to create a sense of a flowing motion that is more gentler on the ears, as the word go rhymes with Michelangelo. The letter M also creates a gentle peaceful sound that further contributes to the flow of that particular thought. If Eliot had chosen a different name e.g. Luigi, the effect would have been different as it creates a rather abrupt and harsh stop to the entire motion of the thought. Thus, in a sense, by Eliots use of rhythm and rhyme, the poem manages to develop into an entire piece of motion. Eliot also uses the remarkable tool of using the sound of certain words in order to create a specific mood in regard to a particular line or stanza. For example, the lines Streets that follow like a tedious argument Of insidious intent creates a feeling of suspicion and slyness, as the sss sound is usually associated with a snake, which is often seen as a conniving and devious creature. In this context, Prufrock is the devious creature as he is attempting to persuade his lover to go to the one night cheap hotels with him so he could merely use her for sex as a form of retreat for him. With the use of rhyming also creates the belief that Prufrock is of the upper class, as in the Shakespearan times, the nobility would often talk in rhyme. Hence, not only does this fit in with an image of him formally dressed with his morning coat and necktie, it also enables the audience to understand that Prufrock is of the educated and respectable class. Thus, Eliot is trying to convey that even though Prufrock is knowledgeable and educated, he is still insecure and unconfident of basically everything in his life, as shown with his lines time for you and time for me, and yet time for a hundred indecisions .ud3cf615b95fedc69fa6a3fdd044a23bb , .ud3cf615b95fedc69fa6a3fdd044a23bb .postImageUrl , .ud3cf615b95fedc69fa6a3fdd044a23bb .centered-text-area { min-height: 80px; position: relative; } .ud3cf615b95fedc69fa6a3fdd044a23bb , .ud3cf615b95fedc69fa6a3fdd044a23bb:hover , .ud3cf615b95fedc69fa6a3fdd044a23bb:visited , .ud3cf615b95fedc69fa6a3fdd044a23bb:active { border:0!important; } .ud3cf615b95fedc69fa6a3fdd044a23bb .clearfix:after { content: ""; display: table; clear: both; } .ud3cf615b95fedc69fa6a3fdd044a23bb { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud3cf615b95fedc69fa6a3fdd044a23bb:active , .ud3cf615b95fedc69fa6a3fdd044a23bb:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud3cf615b95fedc69fa6a3fdd044a23bb .centered-text-area { width: 100%; position: relative ; } .ud3cf615b95fedc69fa6a3fdd044a23bb .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud3cf615b95fedc69fa6a3fdd044a23bb .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud3cf615b95fedc69fa6a3fdd044a23bb .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud3cf615b95fedc69fa6a3fdd044a23bb:hover .ctaButton { background-color: #34495E!important; } .ud3cf615b95fedc69fa6a3fdd044a23bb .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud3cf615b95fedc69fa6a3fdd044a23bb .ud3cf615b95fedc69fa6a3fdd044a23bb-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud3cf615b95fedc69fa6a3fdd044a23bb:after { content: ""; display: block; clear: both; } READ: Poetry review Essay PaperIn this poem, Eliot uses the first point of view throughout the entire poem. An example is shown in the line Let us go then, you and I, where it enables the audience to immediately pay attention to the poem as it insinuates that Prufrock was inviting the reader to follow him to his destination. However, on closer inspection, the reader finds out that Prufrock was not inviting the reader, but was instead referring to his lover. By the use of 1st person, the reader is able to delve deep into the recesses of Prufrocks mind in order to understand and sympathize with his innermost thoughts and feelings, as well as be able to see Prufrock in the way that he sees himself. For example, the reader is able to perceive Prufrocks thoughts regarding himself in his confessions at times, almost ridiculousalmost, at times, the Fool. By the use of 1st person, Eliot also manages to convey very successfully to the reader the extreme indecisiveness that Prufrock is going through, as shown in the lines Do I dare disturb the universe?, Shall I part my hair behind? Do I dare eat a peach? This way, it creates a feeling that Prufrock is pleading the audience to perhaps help him discover the answers to his questions., or to help him overcome his indecisiveness. In lines 1 to 30, the meaning and idea of the stanzas stand opposite to the rest of the poem. In these few stanzas, Prufrock conveys to us the more sensual and dirty side of him, with his urging of his lover to follow him to the one-night cheap hotels. The thoughts and phrases here such as let us go, through half deserted streetslet us go make our visit convey to us that he is in a rendezvous with his lover, and the mention of one night cheap hotels insinuates that she is not a lady of the respectable class. However, although he is using the lady as a form of a retreat, he is still unsatisfied and restless with what he has. It later ties into his question of and when I am formulated, sprawling on a pinthen how should I begin to spit out all the butt-ends of my days and ways? The image of him formulated and pinned against the wall like an insect specimen arouses the question of whether Prufrock is restrained and looked condescendingly down upon by perhaps a lady of a more respectable status. He is pondering the heavy task of explaining about his sleazy acts (prostitutes in one-night cheap hotels) and of the task of justifying those acts. However, after the first 3 stanzas, Prufrock seems to change his personality from one of a sleazy restless lover to a hesitant and reluctant old man. He repeatedly states that there will be time for several things, e.g. sex (yellow fog). He also states that there is time to create a new personality for himself in order to disguise his true self from the rest of society e.g. shown in the lines there will be timeto prepare a face to meet the faces that you meet. In short, he is procrastinating with everything in his life, and he is reluctant to step forward to do what he wants. Later throughout the poem, his extreme indecisiveness can be felt strongly through his constant question of Do I dare? We know that these lines present an image of dirtiness, but it also shows desire. The metaphor of a fog-like cat to sex shows that it is an enjoyable and sensual experience, and that is the reason he goes to the prostitutes. This can be shown because later in the poems, as he shows his insecurities about his choices concerning women, he does so in a clean and respectable environment (toast and tea, braceleted arms, etc). This gives us the impression that part of his insecurity of his choice would be the choice between a clean life with little sensuality, or a very unclean but sensual life. It seems that he believes that the two cannot coexist. Later in the poem we see more superficiality, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me. But here in the beginning, he describes things as very real, and very emotional, like the sensuality truly affects him in a way that the superficiality offered by cleaner women cannot. He says if one settling a pillow by her head Should say That is not what I meant at all Now this seems to imply that what he DID mean could be sensuality in the way he had it with the prostitute, but he is afraid, that if he tries to achieve this level of sensuality with the more clean, respectable woman, they will throw off a shawl and tell him that that is not what they expected of him. That they did not expect him to want this level of sensuality from them.

Free Essays on Women Should Not Be Allowed In Augusta National Golf Club

The Augusta National Golf Club is a private golf resort for men. This is the how this club was founded, and how this club should stay. There has been a huge uproar lately about the issue of whether women should be allowed as members. Augusta National has taken the stance that they are a private organization, and do not have to admit women as members. To some people, not allowing women to join may not be ethically or morally correct, but the law allows it. One of the four most prestigious golf tournaments in the world is held there annually. Because this golf tournament is highly visible, with many sponsors, some people believe women should be allowed. Women should not be allowed to join simply for this reason. Ms. Robinson compared this issue to the racial problems of the past. To compare an issue of whether a woman should be allowed to join a golf club to what the black people in America suffered is ludicrous. The United States was founded on the principles of a Constitution and a Bill of Rights. The freedom to choose with whom we associate is inherent in the formation of this country. The members of Augusta National are exercising their constitutional right to reject or admit whomever they choose into their private club. Augusta National receives no monetary support from the government or charges the guests to play their course. All money generated for the club is from private fundraising and member donations. The government has no right to tell a private entity with whom they should include in their membership. If the membership chooses to allow men only, the constitution should support this. Augusta National has done some very good things for the state of Georgia as well as the game of golf. The Masters, which is played at Augusta National, is one of the most anticipated golf tournaments yearly. This tournament not only brings players from around the globe to the town of Augusta, it also brings many tourists. Th... Free Essays on Women Should Not Be Allowed In Augusta National Golf Club Free Essays on Women Should Not Be Allowed In Augusta National Golf Club The Augusta National Golf Club is a private golf resort for men. This is the how this club was founded, and how this club should stay. There has been a huge uproar lately about the issue of whether women should be allowed as members. Augusta National has taken the stance that they are a private organization, and do not have to admit women as members. To some people, not allowing women to join may not be ethically or morally correct, but the law allows it. One of the four most prestigious golf tournaments in the world is held there annually. Because this golf tournament is highly visible, with many sponsors, some people believe women should be allowed. Women should not be allowed to join simply for this reason. Ms. Robinson compared this issue to the racial problems of the past. To compare an issue of whether a woman should be allowed to join a golf club to what the black people in America suffered is ludicrous. The United States was founded on the principles of a Constitution and a Bill of Rights. The freedom to choose with whom we associate is inherent in the formation of this country. The members of Augusta National are exercising their constitutional right to reject or admit whomever they choose into their private club. Augusta National receives no monetary support from the government or charges the guests to play their course. All money generated for the club is from private fundraising and member donations. The government has no right to tell a private entity with whom they should include in their membership. If the membership chooses to allow men only, the constitution should support this. Augusta National has done some very good things for the state of Georgia as well as the game of golf. The Masters, which is played at Augusta National, is one of the most anticipated golf tournaments yearly. This tournament not only brings players from around the globe to the town of Augusta, it also brings many tourists. Th...

Product Life Cycle Assignment Example | Topics and Well Written Essays - 750 words

Product Life Cycle - Assignment Example 1. Assumptions of the analysis were not all correct as at the time the research was carried out. Foremost is the fact that very few disposable diapers are utilized every week, on a standard basis, then reusable diapers their impact to the environment may be overstated. Secondly, even though the concerned researchers made an assumption that incineration is the most preferred alternative of waste management, this concept is not globally accepted. This, therefore, means that not everybody is in agreement with this kind of waste disposal.There is a considerable opposition that exists to the utilization of incineration which at times could prelude this option of waste management from taking over as the basic method of waste disposal. Presently, several disposable diapers are usually landfilled. This, therefore, means that the impact to the environment of disposable diapers that can be attributed to waste disposal could greatly differ from the estimates provided by the researchers. Being the leader of Arthur D.Little project team, I would not necessarily recommend any particular diaper. This is because, from the data provided, disposables use more raw materials than reusables. On the other hand, reusables consume more water and energy resources that are non-renewable. Globally it is hard to choose one diaper instead of the other. In regions where solid waste is the most burning environmental problem such as New York reusables could definitely be given a nod. Consequently, regions with water scarcity such as California, disposables, in this case, are deemed the best choice for the environment. 2. To be able to give a correct estimate of the reusable diapers’ cost to consumers, valuation of the home labor required to clean reusables should at least be at the minimum wage; since this wage rate is a representation of the lowest estimate of the incurred opportunity cost.

Accounting does not communicate reality, it constructs reality Essay

Accounting does not communicate reality, it constructs reality - Essay Example Accounting is a language of business through which the information is passed to the users of the financial statement. The users then can on the basis of those information can their own decision and plan of action. Thus it can be defined that accounting is not merely a method of keeping records but a method for taking decision on the basis of the information that is provided by accounting (Bion, 1968). An effective medium of communication is required by the entity handling its employees, clients, suppliers. Accounting is considered as an intrinsic an important element of the entity. Accounting helps the business entity in preparation of budget, reporting and also in recording of income that is required by the managers as well as others. There are different users of accounting which can be mainly classified as the external users that includes investors, taxing authorities, customers and creditors and the internal users that includes the management and the employees (Drury, 2008). Accounting mainly communicates variety of information to various parties that are interested in the information supplied by accounting with the help of different mode of communication such as by publishing of annual report, internet, social report and applying various mediums such as by adding pictures, charts, narratives, graphs. The accounting communication is considered as an important aspect as it provides a clear picture to the various things. Accounting communication is verbal as well as non verbal. Accounting communication is required for management accounting. The art of communication applied in management accounting is mainly backed by the need and demand. There are mainly two different ways of communicating financial information is Business Intelligence and costing data (Keele Management School, 2012). Accounting same as that of advertisement can be perceived as mythological and as a metalanguage in which the signs are used to explain the mythical meaning. Accounting

Post Civil War Industrialization and Its Impacts Assignment

Post Civil War Industrialization and Its Impacts - Assignment Example Accordingly, the following analysis will discuss three of the major aspects of industrialization from 1865-1920 and how these aspects influenced issues pertaining to the economy, politics, and the society of the United States. It is the hope of this author that such a unit of analysis will be beneficial in seeking to understand how the United States developed during this period of time and how the nation itself shifted from a primarily rural society to one that was dominated by a handful of major industrial centers. One of the first ways that industrialization changed the United States has to do with the change in the economy (Bates, 2013). After the conclusion of the Civil War, the North had built an impressive system of factories that was capable of supplying were material to the many tens of thousands of soldiers that were in the field. However, after the work included, the need for these factories to continue to produce war goods was of course immediately suspended. However, the infrastructure, machinery, and expertise that was developed during the war years provided a substantial base through which additional production of non-war related materials could take place. Ultimately, this process fundamentally shifted the way in which the economy was based. Prior to this particular point in time, the United States was primarily an agrarian society that relied upon the sale of food supplies and/4 other types of raw material. However, with the introduction of steam power and the changes in producti on that industrialization promoted, the United States began to be a dynamic economic force that was able to produce many finished as society changes the goods. This particular economic shifts created a situation by which large demand for labor case you represented within a relatively small geographic area. Although it may seem as if the era after the Civil War and up until the 1920s is ages removed from the current time, this period of industrialization laid a framework for modern, developed, and society that we currently reside within. Furthermore, the political changes, shifts and immigration, and changes with regards the way in which the population was represented at continue to define the way in which the United States developed and is exhibited within the modern era. Â  

Japanese animation and how its been influenced by American culture in the 20th century

Japanese animation and how its been influenced by American culture in the 20th century Introduction In this essay I shall investigate to what extent twentieth century American culture has influenced Japanese animation. I shall examine the history of Japanese film, paying close attention to the rise of animation as an independent art form; determine what facets of American culture have appeared and influenced Japanese animation, including language, pop culture and consumerism; present two case studies of Japanese animated productions that adhere to the American influence; and draw conclusions from my findings. For my research I shall be referencing literature on Japanese animation, American culture and film history. The case studies shall consist of films by Osamu Tezuka and Mamoru Oshii. History of Japanese Animation The Japanese film industry was born out of the fascination with Edisons Kinetoscope. The Kinetoscope had been first shown in New York in 1894, and two years later the Japanese imported several to their cities. This was a period of celebration and novelty as the Sino-Japanese war had been won in 1895 with Japan forcing the Chinese invasion out of Korea; proving that Japan could adjust to the modern civilization [sic] which less than fifty years earlier had arrived knocking at the closed gates of the country in the person of Commodore Perry. It was the reign of Emperor Meiji, spanning 44 years from 1868 to 1912, which welcomed an era of rapid commercial expansion. In 1897, the Lumià ¨re brothers Cinà ©matographe arrived with a mixed bill of films including Baignade en Mer and LArrivà ©e dun Train en Gare. This was followed by the Edison Vitascope and its films The Death of Mary Queen of Scots and Feeding Pigeons. These innovative projectors were extremely popular with the Japanese, including the future Emperor Taisho. The public were arriving in their thousands to watch these films and continued to do so for another twenty years. Throughout this period the Japanese were importing films from Europe and the United States. It was only in 1912 that Japan founded its first production company; Nikkatsu Motion Picture Company. Established as an independent company under the title Japan Cinematograph Company, Nikkatsu started mass distribution and production of films in the 1920s. This meant that Japan was still dependant on films produced in the West to exhibit in its cinemas in the 1910s. During the First World War (1914-1918) European films were unavailable and to fill the void Japan began to heavily import films from Hollywood. One particular film that was to change the way the Japanese read film narrative was D.W. Griffiths 1916 feature, Intolerance. Perhaps the director nost influenced by Griffith in this early period of Japanese film was Norimasa Kaeriyama. Kaeriyama introduced advanced film technique into Japan and helped establish the Film Record, the countrys first motion picture magazine. His films were heavily inspired by the Hollywood narrative structure and were dedicated to: the introduction of long-, medium-, and close-shots, together with editing principles; the conversion to realistic acting; and the use of actresses in womens roles instead of oyama (oyama impersonators were previously used instead of actresses for female roles). After the death of Emperor Taisho in 1926 Japans new Emperor, Showa (Hirohito), began to reject the liberal attitudes towards Western influence of his predecessor. There was more emphasis on creating greater armies and a more powerful navy than building diplomatic relations. Before the Great Depression rocked the United States and Europe, Japan had already suffered; this was accelerated by the population boom across the country. Japan now put emphasis into its manufacturing and exportation of goods. Japans foreign policy had become one of aggressive expansion; they had seized control of the railways in Shandong, China, but were forced to withdraw after China boycotted Japanese exports. There was unrest in the country as labour unions were growing and dissatisfaction bred. Strikes and boycotts were rife, and this was reflected in the films of the time. Period drama films afforded the public the luxury of escapism while, on the other end of the scale, left-wing tendency films that soug ht to encourage, or fight against, a given social tendency played to the nation. This period of filmmaking in Japan proved that the industry had grown up from its humble origins and was establishing its own themes. The influx of the talkies from Hollywood finally pushed Japanese filmmakers to produce their own sound filmes. In the early 1930s sound became the norm for Japanese productions and therefore pushed the boundaries of the industry; allowing directors such as Teinosuke Kinugasa to create lavish dramas that were adored by the public. Suddenly the door was open for filmmakers to adapt historic tales dramatically. These dramas were singled out by the Emperor who saw them as an important tool to boost the nations morale, showing the masses how important history was; and how important it was to actually make their own history. The second Sino-Japanese war was not unexpected. The film industry had to develop the skills to produce the war genre. The first Japanese war movie was Tomotaka Tasakas 1938 feature, Five Scouts (Gonin no Sekkohei). It is interesting to note that this film does not include the pride, nationalism or propaganda that was being released in the United States, Britain or Ger many. The story dealt with the lives of five soldiers caught up in a battle that they know they must fight. This narrative development of character over plot is still used in modern cinema, most recently in Sam Mendes Jarhead (2005). After the destruction of the Second World War, Japan was forced to rebuild as a nation. The Emperor saw the need to keep the cinemas open (at least those that still remained). Production continued, some unfinished films were abandoned due to their military narrative, and projects that had been discarded before the outbreak of war were completed. The occupying Allied interim government announced a list of prohibited subjects, these included militarism, revenge, nationalism, religious or racial discrimination, feudal loyalty, suicide, cruelty, exploitation of children and opposition to the occupation. Editorial power had been taken away from the filmmakers and left with a foreign military presence. Out of this period two important directors were to emerge; Kurosawa and Kinoshita.In 1950, Akira Kurosawas Rashomon was released. The film introduced new ideas to Japanese, and world, cinema. It was the first film to use flashbacks that disagreed with the action they were flashing back to. I t supplied first-person eyewitness accounts that differed radically; one of which came from beyond the grave. The final scene saw no Hollywood resolution with three self-confessed killers and no explanation. His later films included Seven Samurai (Shichinin no samurai) (1954), The Hidden Fortress (Kakushi-toride no san-akunin) (1958) and Yojimbo (1961). Keisuke Kinoshita directed Japans first colour film in 1951 with Carmen Comes Home (Karumen kokyo ni kaeru). Kinoshitas work is much lighter than that of Kurosawa and his influences seem to come from French comedies; most notably in the two Carmen movies featuring the stripper-with-a-heart-of-gold Carmen. Both these and other films explore the need for a character to leave the countryside and head to the new cities. This was echoed in Japans successful attempts to join the United Nations in 1956. In 1958 the first cartoon feature from Japan was released from the Toei studios. Panda and the Magic Serpent (Hakuja den) was directed by Kazuhiko Okabe and Taiji Yabushita and tells of two lovers in ancient China who must battle evil to find happiness. The film combines bizarre supernatural sequences, psychedelic montages and instantly likeable songs. Even though it can be argued that this is the Japanese interpretation of Disneys 1940 classic Fantasia, Panda and the Magic Serpent heralds the beginning of the Japanese animation industry (anime). Anime is the term used to describe Japanese animation. Since the 1950s Japan has been at the forefront of not only producing animation but is a world-leader in comic book art, or Manga. It is best described by Gilles Poitras: Anime (pronounced ah-nee-may), as defined by common non-Japanese fan usage, is any animation made in Japan. In Japan, the word simply means animation. While anime is sometimes erroneously referred to as a genre, it is in reality an art form that includes all the genres found in cinema or literature, from heroic epics and romances to science fiction and comedy. Whereas anime is what people would refer to as cartoons, Manga is the illustrated storyboards that the reader animates in his or her head. The fact that Manga is read by a whole cross-section of society is notable because it is; simply too fascinating, colorful [sic], and rich a literary medium to be left solely to children. The 1960s saw a host of anime films released. In The Enchanted Monkey (Saiyu-ki), directed by Daisaku Shirakawa, Taiji Yabushita and Osamu Tezuka in 1960, the story is a retelling of part of the epic Chinese classic, The Journey to the West, written by Wu Cheng-En in the sixteenth century. This technique of updating early stories was a popular theme in anime and is still used today. However, it was not only the cinema that was releasing anime productions. Japanese television aired Mighty Atom (Tetsuwan Atomu) from 1963 to 1966. Mighty Atom was the creation of Dr Osamu Tezuka, an influential figure in the early development of Manga. It was the first animated series produced by Tezukas television and film production company, Mushi Studios. The initial episode was shown as a television special on New Years Eve (one of the most widely viewed evenings on Japanese television) and became an instant success. When the series was shown in the United States the characters name was changed to As troboy due to DC Comics already owning a character called The Mighty Atom. The series proved to be extremely popular with children, and sparked controversy amongst parents who, even though the translation was greatly softened and sometimes edited for juvenile audiences, complained that the often dark subject matter was not suitable for impressionable young minds. Some episodes exhibited increasingly dreamlike and surreal imagery. This argument still persists today with the debate on whether graphic violence in cartoons (or anime) can prove detrimental to a young audience. The 1970s was a time of consolidation for the animation studios. The worldwide popularity of anime had afforded hundreds of studios to be set up to produce a plethora of films and television series. The moon landing in 1969 fired the imagination of the world with more emphasis on science fiction; and that is what the audience wanted. Fans of anime, or otaku, from around the world demanded new productions from these studios, and in turn the studios delivered new and advanced films. Otaku derives from the Chinese character for house and the honorific prefix o-. This translates as your honourable house. It is an extremely polite way of saying you when addressing another person in conversation; the writer Akio Nakamori proposed that the term be applied to the fans themselves. Another interpretation, as used by the Japanese media, is that of extreme fixation, which is probably closer to the truth. Either way it is the fans of anime that have been the driving force behind its success. In 1971 an animator directed 24 episodes of an anime series called Lupin III (Rupan sansei). It was the start of a very important career for perhaps the most important animator to come out of Japan. This man was Hayao Miyazaki. The series ran from 1971 to 1972 and was so successful that a number of sequels were made as well as theatrical releases. Lupin III describes the life of gang members in 1970s society. The action targeted the adult audience with its violence, sex, dark humour and contemporary soundtrack. Eight years later Miyazaki went on to direct The Castle of Cagliostro (Rupan sansei: Kariosutoro no shiro). The film is a continuation of the Lupin franchise that started with the television series in 1971. The emphasis is on the characters rather than the plot; a trait that Miyazaki develops over the course of his career. Even though the film is far from being one of the best examples of anime from the 1970s, the pace, comedy and willingness to show anti-heroes captures the f eeling of the decade. Another example of an anime series that became global was Gatchaman Science Ninjas (Kagaku ninja tai Gatchaman). This series originally ran from 1972 to 1974 in Japan before being renamed Battle of the Planets when it aired in the United States in 1978. Yet again the re-dubbed, re-edited version was toned down for the Western audience, so much so that the series was moved from Earth to outer space; sequences with a robot (7-Zark-7) were added to patch the safer storylines together, make up for the lost (edited) footage and jump on the Star Wars R2-D2 bandwagon; exploding planes and ships were always robot-controlled and Spectra forces constantly ejected. The original Gatchaman series introduced characters that had feelings and motivation; there was character development and ongoing sub-plots. They sought revenge, felt jealousy and fear, had relationships, and got hurt. The villains were unabashedly evil, not misguided. The heroes didnt always win, at least not completely.It was as if the West was still not ready to embrace anime and Manga as an art form that was acceptable for adults to enjoy. Anime was still widely seen as cartoons for children in the 1970s. The Japanese animation industry went from strength to strength in the 1980s. It was the decade that saw the Western world finally succumb to the power of anime. This was a two-pronged attack; a Manga pincer movement. For those that still believed animation was for children there was the extraordinary global phenomenon that was Transformers, and for those that were looking for an alternative cult classic there was Akira. In 1984, American toy manufacturer Hasbro bought the rights to produce transforming robots from Japanese company Takara. To bolster the sales of their new line Hasbro decided to use anime as the frontline attack on the target audience (children). The result was the extremely successful Transformer series. This series led to the production of the 1986 feature film, Transformers: The Movie. This was the first real evidence of American culture, in its consumer form, influencing Japanese animation. In stark contrast of the animation-as-advert, Katsuhiro Ôtomo directed the 1988 classic Akira. The film was soon to become a benchmark for anime in Japan, and across the world. This was a film that was aimed at adults with dark, subversive themes. The futuristic settings of Neo-Tokyo were apocalyptic and tinged with doom. After Akira it was widely accepted that anime was not just for children. The 1990s saw anime reach mass appeal as the release of such films as Patlabor (Kidà ´ keisatsu patorebà ¢) (1990), Patlabor II (Kidà ´ keisatsu patorebà ¢ 2) (1993) and Ghost in the Shell (Kà ´kaku kidà ´tai) (1995) by Mamoru Oshii found an international audience; Hideaki Anno and Kazuya Tsurumakis 1997 feature End of Evangelion (Shin seiki Evangelion Gekijà ´-ban: Air) followed on where the original Japanese television series left off; and of course Hayao Miyazakis Crimson Pig (Kurenai no buta) (1992) and Princess Mononoke (Mononoke-hime) (1997). The American influence was still rife as the toy industry, in particular the computer and video game market, provided the plotlines to a number of films and television series including Street Fighter II: The Movie (1994), Battle Arena Toshinden (1997) and the original series of the next big thing, Pokà ©mon (1998 onwards). In 1999, Michael Haigney and Kunihiko Yuyama directed the feature length version of the popular Pokà ©mon ser ies; Pokà ©mon: The First Movie. Whereas the 1980s saw Transformers flood the childrens market, the beginning of the new millennium saw the Japanese revenge. Pokà ©mon originally began as a video game, on the Nintendo Gameboy: The Pokà ©mon game was the platform for the Pokà ©mon brand to kick-start what would become the worlds largest success story in the game-licensing card-collecting business. The video game gave the characters identities, the collection cards gave them powers, the movie added life to the brand, and word-of-mouth spread the news. The Pokà ©mon invasion is still evident nearly ten years later as the television series is still in production, with two feature film sequels having followed the original cinematic release. The consumerism powers of America had truly influenced anime. American Cultural Invasion The cultural invasion from the West began in earnest at the turn of the twentieth century. Japans industrial revolution had been slow to start but quickly gathered momentum. By 1890 there were two hundred large steam factories where twenty years earlier there had been none; steamship tonnage increased from 15,000 to over 1,500,000 tons in the period between 1893 and 1905; and by 1896 things Western were in full fashion derbies or straw boaters were worn with formal kimono, the big gold pocket-watch was tucked into the obi, and spectacles, whether needed or not, were esteemed as a sign of learning. Ironically, the period when Japan found itself bowing down to the pressure of American influence was directly after fighting a war against it. When the atom bombs were dropped on Hiroshima and Nagasaki it was not just the radiation that remained in Japan. Any country that has been invaded will always have traces of the invaders culture embedded into the normal life of its habitants. The All ied (most notably the American) control of Japan directly after the war was to allow Western influences to develop into the Japanese way of life. This influence was both highly visual as well as subliminal. America saw the clandestine operations there were not only as part of an effort to defeat Japan but also as the opening wedge for post-war Southeast Asia. The Japanese were suspicious of the Western approach to education and the governing of their homeland. The Occupation, they thought, had destroyed traditional Japanese virtues and unleashed a wave of selfishness and egotism. In an interview with the elderly president of a real estate company in Oita City, author Jeffrey Broadbent discovered the feelings of the former owbers of the land: Due to American influence, the heart of our people has been lost our way of thinking that, if its good for the progress of the whole, its good to sacrifice yourself The Japanese strength from group unity has been lost. The other side of the coi n is the very noticeable, consumer-led American cultural assault on Japan.The way in which American culture has seeped into the Japanese way of life is what Koichi Iwabuchi writes as: strategies that incorporate the viewpoint of the dominated, who long ago learned to negotiate Western culture in their consumption of media products imported fro the West. Depending on the viewpoint of the individual, culture and life in Japan, and especially that in the densely populated areas, are influenced by the same commercial culture that defines the American way of life today. Japanese streets are now littered with the flashing neon signs that are found (admittedly all over the world) adorning the pavements of any American town or city. Western branding has left its mark on Japan. The American phenomenon of the fast-food culture such as McDonalds, Burger King, Dunkin Donuts, Kentucky Fried Chicken, Baskin-Robbins, and other outlets dominate the Japanese urbanscape more than in America. As a mat ter of fact the first Disneyland outside the United States was built in Japan. Even when taking into consideration the immense popularity of Japanese culture (for example, the growth of Yo! Sushi restaurants in the UK) and the Wests embracing of Eastern philosophies (in this case Shinto and Buddhism), it is safe to say that Japanese culture has been more extensively shaped by its American counterpart than vice versa. If it is indeed true that Japans exports of products and manufactured goods far outweighs its imports, then it is also true that Japan imports vastly more information about or from the United States than the other way round. Japan is today regarded as one of the leading powers in the world especially in the representation of its national media; the Japanese population of more than 120 million people and its economic wealth make the Japanese audiovisual market, along with that of the United States, one of the only two self-sufficient markets in the world. However, this does not mean that foreign popular culture is no longer consumed in Japan; American popular culture has continued to strongly influence and saturate Japan. Japan is one of the biggest buyers of Hollywood movie and many Japanese television formats and concepts are also deeply influenced by and borrowed from American programmes; yet the format is quite often changed to make it more suitable to a Japanese audience: What was marked as foreign and exotic yesterday can become familiar today and traditionally Japanese tomorrow. Kosaku Yoshino writes that although Japan has developed a relative maturity of its cultural industries, it still hasnt fo und itself fully expanding on the exportation of its television programming and films to other regions of the world. This unexportability of Japanese media can be explained by the term cultural discount: A particular programme rooted in one culture and thus attractive in that environment will have a diminished appeal elsewhere as viewers find it difficult to identify with the style, values, beliefs, institutions and behavioural patterns of the material in question. Included in the cultural discount are reductions in appreciation due to dubbing or subtitling. The biggest media products that the Japanese have managed to export, despite cultural discount, is Manga and anime; but is this due to American cultural influences shaping the genre into a more Western-friendly medium? Case Study 1 Alakazam the Great (Saiyu-ki) The first example of a Japanese animation that has been influenced by American culture is the 1960 feature, The Enchanted Monkey (Saiyu-ki), directed by Daisaku Shirakawa, Taiji Yabushita and Osamu Tezuka for Toei Studios. It was released in America as Alakazam the Great in an attempt to win a bigger audience by moving away from the emphasis of the ancient Eastern tale, the story is a retelling of part of the epic Chinese classic The Journey to the West (Xiyouji), written by Wu Cheng-En in the sixteenth century. The title name-change and the subsequent character name-changes point to the influence that America held over Japanese culture at the time. The original story chronicles the many encounters of Sanzo, a monk who travels from China to India to obtain a copy of the original Buddhist scriptures to bring back to his country and teach the purity of Siddhartas original messages. In Osamu Tezukas film the star of the show is not Sanzo but Son Goku, the monkey king. Son Guko is a tale nted but arrogant warrior that is sent on a journey by Buddha to learn the virtues of humility and compassion. However, when re-dubbed and released in the United States the characters changed. Sanzo became Prince Amat and turns out to be the son of Buddha. Buddha in turn is named King Amo, Sir Quigley (Pigze), Lulipopo (Sandy), and Son Goku is renamed the titular Alakazam. Considering the fact that the storyline was centuries old there is more than a passing resemblance between the character of Alakazam (Son Guko) and the way in which Japan was seen by the rest of the world. In the tale the protagonist is king of his surroundings (Japan in the late 1930s and early 1940s) before he discovers the existence of a people that are more powerful than him. In an attempt to beat them he sneaks into their world and begins a pre-emptive strike against them (Pearl Harbour attack). He is then disciplined by a greater being (America) before being allowed to continue his journey under the agreement that he learns from his mistakes (the Occupation and the subsequent acceptance into the United Nations). I believe the fact that Tezuka decided to use the story to create this, the third Japanese feature length animation, demonstrates an understanding of the ever present American dominance over Japan. The aesthetics of the production borrow from the American animations of the time. In the post-war period it was evident that the biggest influence on the explosion of Manga style artwork came from the imports of European and American comic books and animation. The most famous being the work from the studios of Walt Disney. Osamu Tezuka was originally a Manga artist before he became involved with anime. His style and technique was heavily influenced by Disney (he admitted to watching Bambi 80 times and Snow White 50 times). The studio that he worked for, Toei, strived for that same cross-cultural, cross-generational appeal of Disney, albeit using more Asian scenarios. Considering that he had studied Disneys Bambi to the point of obsession it is not surprising to learn that Tezuka noted how Bambis childish attributes, such as his big eyes and large head, were an ideal way of conveying complex emotions. The influence of the West is truly evident in this film, and many that followed it. Case Study 2 Ghost in the Shell (Kà ´kaku kidà ´tai) (1995) The second film I am looking at in detail is Ghost in the Shell (Kà ´kaku kidà ´tai) (1995), directed by Mamoru Oshii. It is widely accepted that anime has been inspired by a number of different factors that draws simultaneously on medieval Japanese traditions, on American cyberpunk styles, and on an imagery of ethnic and cultural mixture (of the sort envisioned in Blade Runner) that never quite evokes any specific human society, but that in various ways hints of the American dream of a multicultural society and suggests the extent to which the American science fiction film has become a key narrative type for much of contemporary culture. This cyberpunk culture has been lapped up by the Japanese and features heavily in Manga and anime. Perhaps the most famous writers and contributors to this particular genre are William Gibson, author of the cult Neuromancer and Philip K. Dick, author of Do Androids Dream of Electric Sheep?, the novel that was the basis of the 1982 classic Blade Ru nner. Both these writers provided a futuristic world that could be further advanced by the medium of animation. The plot of Ghost in the Shell parallels Neuromancer very closely, except that rather than an artificial intelligence seeking to be free by merging with its better half, an artificial life form (the Puppet Master) seeks to free itself by merging with the protagonist (cyborg Major Motoko Kusangi). Developing similar themes to Gibson and Dick, Oshiis interest in mankinds over-reliance on technology is brought to a logical conclusion in Ghost in the Shell, which foregrounds fundamental questions about what it is to be human in an increasingly computerised cyberworld, where a computer programme gains sentience and also questions its own function in the acquisition of power, autonomy and longevity. In Do Androids Dream of Electric Sheep? and later Blade Runner the plot and characterisation are centred on the struggle to determine what is human and what is machine. It can be argued that Neuromancer borrows from modern Eastern culture as the locale is set in Japan, however, it is the significance of the characters rather than the setting that has cemented it as a science-fiction classic. In Dicks novel, the opening image of the book, comparing nature to technology, sets the tone of this narrative. The protagonist, Case is a combination of man and machine; a now common trait amongst Cyberpunk literature and animation.It is this imagery that Oshii has borrowed from the West that has provided the background to his work; Blade Runner has been labelled as one of the finest examples of post-noir with its anti-heroes, atmospheric lighting and dark storylines, and Oshii replicates this in his film. He uses sound, and in particular the score written by Kenji Kawais to achieve an emotional response from the viewer that is a million miles from any Disney cartoon. He presents Ghost in the Shell with the feeling of a bona fide film noir that just happens to be an anime production. As such Oshii has admittedly borrowed American ideas, themes and culture but he has formed his own creative style out of it. He uses the medium not only to entertain but to put forward questions of morality to an audience that are not treated like children: Oshii develops the form by refusing innocence and indifference, insisting upon only the maturity of the medium. Indeed, while in an accessible, orthodox model, it only advances the case further that all animation is in some sense experimental, even within populist forms. Conclusion From my research I have drawn the conclusion that Japanese animation has indeed been influenced by twentieth century American culture. This has happened side by side with the country as a whole accepting elements of Western popular culture. As early as the beginning of the century under the leadership of Emperor Meiji Japan began to embrace the West after years of being an insular island race. It was immediately after the end of the Second World War, when Japan was occupied by the Americans under General MacArthur from 1945 to 1951, that the floodgates opened. American control influenced education, culture and general living. Whereas the older generation saw this as Japan losing its heart the younger generation thought of it as a fresh start. This is evident in Japans rise to power in the 1960s onwards. The Feudal system of Japan that had reigned until 1868 had been disregarded; the way of the samurai had been supplanted by the power of the microchip. The nation had taken on board Am erican culture and adjusted it for their own purpose. This ability to progress with outside influences paved the way for animators such as Kazuhiko Okabe, Taiji Yabushita, Osamu Tezuka, Hayao Miyazaki, Katsuhiro Ôtomo and Mamoru Oshii. It is worthy of note that it has not completely been one-way traffic. The Japanese animators have been influenced by American culture (Disney, comic books, Cyberpunk, etc.) but in turn the Americans, and the West, have imported attributes specifically found in Manga and anime. The creative team behind The Matrix trilogy, Andy and Larry Wachowski, are Japanese anime fans and were the driving force behind the 2003 animated film The Animatrix. Advertising agencies in the United States have also picked up on the popularity of anime with the Coca Cola group producing the Obey Your Thirst Voltron campaign, combining anime and hip-hop to sell Sprite.Sales of Manga comics and picture novels in North America grew over 40 per cent to $140 million in 2004. This trend was also boosted when director Hayao Miyazaki won the Oscar for Best A

Vagal Nerve Stimulation and Epilepsy :: Biology Essays Research Papers

Vagal Nerve Stimulation and Epilepsy Epilepsy is a brain disorder characterized by seizures which occur when neurons fire uncontrollably and chaotically. The four most common categories of seizures are: simple partial, complex partial, secondary generalized tonic-clonic, and generalized tonic-clonic. A partial seizure is one in which epileptic activity stays in a focused area of the brain. During a simple partial seizure, the patient maintains full consciousness and experiences hallucinations, illusions and/or muscle jerking. A patient experiencing a complex partial seizure has impaired consciousness and often makes automated movements. A generalized tonic-clonic (GTC) seizure is characterized by complete loss of consciousness, rhythmic jerking, and a period of unresponsiveness. A secondary generalized tonic-clonic (SGTC) seizure is one in which the epileptic activity of a partial seizure spreads to the entire brain, resulting in a generalized seizure.(3). Epilepsy has a variety of different pathologies. These include genetic factors, poisoning, and brain injury. High levels of excitatory neurotransmitters, low levels of inhibitory neurotransmitters, and abnormal wiring are all thought to be causes of seizures. Possibly, abnormalities in the cell membrane play a part in causing seizures. (3). This makes sense since the cell membrane essentially controls the polarization of the cell, which in turn controls the activation of signaling between cells. Often, seizures are caused by a deficiency of GABA, a neurotransmitter which inhibits the passing of information from one neuron to another. (1). Seizures which are caused by lack of inhibitor could, in a way, be likened to the example of a chicken which runs around for some time after its head is cut off. The spastic wild activity of the chicken is due to the fact that the inhibitory neurons are all in the head, which was removed. There is nothing to control the excitatory neurons. Similarly, without enough inhibiting GABA, many neurons send signals all at once, and there is nothing to stop them. One of the more recent forms of treatment for epilepsy is called Vagal Nerve Stimulation (VNS). The first VNS device was implanted into a human in 1988. ((2).) The vagus nerve is a cranial nerve controlling muscles involved with swallowing, speaking and coughing. The nerve is also involved with receiving input from and sending information about the heart, stomach and lungs to the brain. (6). The Vagus Nerve Stimulator is a small generator which sends electrical activity to the brain to prevent seizures. (5).

John Dewey and early childhood education Essay

â€Å"Education is not preparation for life. Education is life itself. † – John Dewey (1859-1952) (Ministry of Education, Singapore, 2003) The set of Desired Outcomes of Pre-school Education that the Ministry of Education(MOE) had put together in 2003 highlighted the significant importance of pre-school education being the platform for lifelong learning. It’s intention were far beyond preparation of these children merely for Primary School curriculum (Wong,2000). Very much alike to John Dewey (Dewey)’s quote, MOE’s take on pre-school education exists similar context. I felt that it challenges the perceived notion that education is only about getting the necessary qualifications or securing a good job. However, with an open mind, education in fact occurs throughout life. This brings about a few educational principles of Dewey which had influenced me in my workings with children in a pre-school setting. I felt that the central concept of Dewey’s view of education was that there should be greater emphasis on allowing children develop problem solving skills, critical thinking skills, and being able to make decisions on their own, rather than simply on the memorization of lessons. Through real life experiences, instead of merely being on the receiving end of secondhand information, children were able to develop the required skills effectively (Seefeldt and Barbour, 1998). Active learning has been widely advocated in my child care centre. I often incorporate and encourage it too. Let’s say I will be teaching on the theme of occupation and doctors are the topic of the week. For the younger age group like pre-nursery and nursery, I would provide real materials like a doctor play set. Children would be encouraged to explore these materials at their own pace and interests. They would be able to experience how it feels like being a doctor and thereafter get an insight of what a doctor’s work scope is about. Concurrently, they would be exposed to the instruments that a doctor uses. I would also ask children open ended questions like â€Å"What does a doctor do? Which tool do you think a doctor uses to hear your heartbeat? If you are a doctor, how would you hear my heartbeat? †. I believe  that such open ended question encourages children to construct their own understanding of concepts. I would also drop hints and attempt to spur their interest when children become uninterested and seem clueless. On top of these activities, for the kindergarten classes, I would introduce a â€Å"Doctor of the day† where the child would, alongside the teacher, assist in the daily temperature taking of children. This way they would understand the concept of what is taken to be ill and what is not, and also who should they visit at times when they fall sick. I would also liaise with a nearby clinic and bring the children on a trip, getting the doctor to assist in giving the children a short demonstration of a regular consultation in the clinic. The children will not only be able to see how a clinic setting is like, they will also be able to pose questions to the doctor to find out more. Following which, I would plan for a clinic role play where children are free to express their own interpretation and ideas of a being a doctor. In tie with Dewey’s avocation of active learning, this concept of learning has been strongly supported by the local context too. In the Code of Ethics, professionals are obliged to promote and encourage children to be actively involved regardless of ability (Association for Early Childhood Educators, Singapore, 2005). Dewey also advocated that the school is a social institution (Flanagan, 1994). He believed that through social interaction with adults and peers, learning would be further reinforced (Henniger, 2002). Communication with peers or adults allows children to think, process their thoughts into verbal words and therefore encourages and stimulates a child’s thinking. Interactive learning is also vital to social development. Being able to develop a positive and satisfying relationship with peers and adults is crucial for effective social interaction and is often a focus of pre-school programs (Early Childhood Teachers’ Association, 2003). In my workings with children, I have realized the important role social interaction plays in a child’s development. Children across all pre-school levels enjoy talking and interacting with each other over their thoughts, opinions and experiences. One way I encourage this is by planning for problem solving in group discussions. For instance, the kindergarten children would be issued a problem at the start of the day: â€Å"What are the features of an insect? † They would then be divided into groups to explore the problem by going into the various learning centres I have set up toacquire the information. This can be followed up by bringing the children on a field trip to the Botanical Garden where children are able explore on the topic and make drawings and notes on their observations as a group. At the end of the day, they would discuss about their gatherings again in groups, and then present their findings. Other than learning how to function as a member of a group, children would also be able to learn cooperative skills and conflict resolution through the activity. Besides peer interaction, adult interaction plays an equally important role. In the Assessment of Licensing Standards in child care centre, staffs are to encourage interaction with children in order for children to be able to understand self and others (Ministry of Community Development and Sports, 2003). In the pre-nursery and nursery classes, I take time to listen, make eye contact and respond to children. This makes children feel comfortable and it motivates them to interact more with adults. I would also plan for activities like dough play and painting on large papers where children are able to proceed with the activity together. Through such activities, they are able to discuss, comment and communicate with each other too. I would also ask questions like, â€Å"What do you think Clarisse has molded? Does it look like a sandwich? † which allows for creative thoughts to be expressed and interaction to take place. Dewey’s philosophy perceived a teacher’s role as a guide and observer, rather than an instructor or a disciplinarian. The teacher is to provide and prepare the environment and curriculum to allow children to benefit and learn productively from it. Teachers were also expected to observe children and come up with activities designed to facilitate optimal learning (Feeney, Christensen and Moravcik, 2006). For the pre-nursery and nursery classes, I would provide a large variety of materials where children would be given the choice to choose based on their preference. I would not interfere in their choice activity as long as it conforms safety standards. I would also plan for activities where children could explore and exercise trial and error. For instance in the dough making session, they would be able to explore how much water is needed to achieve the texture of dough they would like, and what should be added when the dough becomes too soft. However, I would be guiding children whenever they are stuck or faced with much difficulty. I would also put up children’s work like their art work at a prominent corner of the classroom to make them feel that their work is valued. For the kindergarten classes, I would plan the lesson together with the children and come up with activities that could tap on their interest. For instance, discussing with children about which occupations interests them the most by showing them a variety of it. After the children have made their choices, I would plan activities catered to their interest. Throughout the lesson, I would make observational notes about each child and provide experiences or materials catered to individual’s interest. For example if a child shows immense interest in the occupation teacher, I would plan for the child to have a go at teaching his fellow classmates a song. Or if a child is interested in being a policeman, he could patrol the corridors before nap time to ensure that children are not hiding in the toilets or up to mischief. Similarly, under the Framework for Kindergarten Curriculum, MOE recommend putting their principles into practice in a few ways. These includes, preparing the learning environment by encouraging learning at their own pace and choice, planning meaningful activities based on children’s interest and abilities, allowing resources and materials to be easily and readily available and observing and monitoring children’s development. (Ministry of Education, Singapore, 2003) Through Dewey, I become aware of various methods and principles which plays a vital role in children’s pre-school learning. Though there were also controversies in Dewey’s philosophy, I believe that each philosopher possesses their own virtues and Dewey was one which struck me the most. References Association for Early Childhood Educators, Singapore (2005). Code of ethics. Retrieved March 23, 2010 from http://www. aeces. org/code_of_ethics Early Childhood Teachers’ Association (2003). Educating young children. Journal of early childhood teachers’ association inc and school of early childhood university of technology, 9(1) Feeney, S. Christensen, D. Moravcik, E. (2006). Who am I in the lives of children? : an introduction to early childhood education (7th ed). Upper Saddle River, New Jersey. Pearson Education. Flanagan, F. M. (1994). John Dewey. Retrieved March 24, 2010 from http://www. admin. mfu. edu/ctlf/Ed%20Psych%20Readings/dewey. pdf Henniger, M. L. (2002) Teaching young children: An introduction (2nd ed). Upper Saddle River, New Jersey. Pearson Education.