Thursday, March 4, 2010

Essay: How Beneficial is Work Experience?

How Beneficial is Work Experience Essay

Every year pupils of year 10 leave school for two weeks to experience working in an adult environment. There are different views on the benefits and disadvantages of these two weeks.

There are advantages for the students as they learn to make conversation with adults and learn basic skills. Students are also given freedom which is not found in a school environment, and they may be given tasks which include leaving the premises.

This is also a chance for students to meet new people outside of school. By the end of the two weeks, many students find they have made new friends with different interests and lives to their other friends.

Work expereince however can also be viewed as unbeneificial. The student wont be given jobs of the particular career as they do not have they qualities such as a degree to perform it, instead they will be given 'small jobs' such as cleaning shelves and making drinks for the staff; jobs that do not give a good insight into the career.

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Work experience can in some cases be a burden for the employer, and in others be extremely useful. The employer will either benefit from the student doing the 'small jobs' that the other staff are not paid for, or have a limited amount of jobs available that the wtudent is capable of carrying out.

Work experience holds both benefits and burdens. My view is that nothing is perfect and most good things always have their burdens, and that work experience has proved to be a beneficial and enjoyable experience to the majority of students.

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Wednesday, March 3, 2010

Essay: How Children Learn about Writing?

How Children Learn about Writing Essay

My chosen genre for my piece of writing was a diary of my two week holiday in Corfu – Greece; I detailed my perceptions and experiences for each day throughout my vacation. The decision to create this form of written work was not reached easily. I was daunted by the fact that I was required to write a written piece of any genre without any specifications. I have never been the creative type and thus the notion of creating a fictional piece was out of the question. I tried to concentrate on what I knew about writing, but I had writer’s block, I was unable to conjure up any ideas. Throughout my academic career I have written many essays but the forum for my writing had always had a starting point – a question or idea at least. I made the decision that I needed to write about something of which I had experience of; Parker (1993) argues that when one has some concrete notion or personal experience of a topic a written piece is more easily produced. I finally settled on the decision to produce a diary, I was able to mould, detail and express my own personal experiences through written language. Each evening on my holiday I settled down to recall my thoughts, feelings and events of the day; I was in a quiet place with no distractions. The time I dedicated to writing in my diary varied, eventful days resulted in more time being spent recounting what had happened whilst those days where little occurred could only result in a lesser input from my part.

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The planning that I undertook to produce my diary did not take the conventional form that one uses to produce a written text such as a story, essay or persuasive argument, for example while I was aware of what the purpose of my writing was for, I did not consider other aspects in great detail such as audience or other features of form that other writers may employ. Planning on my part in this instance was that I observe – I observed the events of the day, other people and my own perceptions and feelings.

I had no particular audience in mind other than the teachers who would read this work and in a way I omitted some information so that it was suitable – something that I would not do if I had been writing a personal diary for no one else other than myself to reflect upon. I acknowledge that as a general rule diaries will remain as they are written, no editing, amending or adding additional information, however because this diary was to be read by an audience this rule did not apply. My diary was revised into a final copy where modifications had been made in places so that my experiences of the world (my holiday) could be made explicit in the minds of my audience.

The compositional aspects involved in writing my diary were somewhat different to those involved in writing a story, persuasive argument or an essay, for example my ideas were not acquired through secondary resources (books, internet, newspapers etc) nor were they a product of my imagination instead they were based on my first hand experiences and perceptions of the real world. My diary therefore was an entirely subjective, introspective product.

When writing my diary I did not consider organizational structure as such, I recounted my experiences of each day in some order (i.e. from when I awoke to when I went to sleep). It was easier to for me to articulate the events of each day in some chronological order as it gave me both a starting and finishing point, however entries of my thoughts and feelings were at times sporadic, thus creating a written piece that in places lacked firm structure.

Deciding what to say for me was relatively easy as I did not have to think up anything novel or creative, I simply had to say in the form of written language what had occurred each day. Knowing what to write had posed a great problem initially (as already noted), on deciding that I would write a diary I felt a great relief as I knew that I would always have something to recount. I found writing the diary uncomplicated as my word selection was informal, when writing the diary I found that I did not have to employ eloquent words, I was not writing to impress, I was simply writing for myself, keeping a record as it were of what had happened on my holiday and I how I felt. Although I have stated that I was writing the diary for my self, I did acknowledge that this piece of writing would have an audience therefore the level of explicitness that I included was more exaggerated and detailed than if I was writing solely for my self, I knew that this had to be done if my writing was going to be meaningful to my readers.

In all honesty when writing my diary I did not consider transcriptional aspects at all. If I was unsure how to spell a word or of punctuation and grammar I guessed, I often used abbreviations and though my handwriting was legible it was not my neatest. I feel that for the most part writers of diaries are more concerned with composition, the shaping and molding of words to represent their world over transcriptional aspects. The predominant reason that I paid little attention to transcription when writing my diary was that I knew that it would be word processed into a final copy, the computer would provide the appropriate facilities to rectify any spelling, grammatical or punctuation errors and it would be presented in a typed format thus ruling out the need for particularly neat handwriting.

The craft of writing is perfected by understanding the many processes involved, before one can even begin to consider putting pen to paper and write it is necessary to know the purpose of the writing and the audience for which it is intended. Often it is the case that children do not consider who they are writing for, instead they simply see writing as an exercise that is to be marked as right or wrong by the teacher, they generally do not see it as a tool of communication, or a method of shaping thoughts and ideas (Keith Stellard; 1988). It needs to be made clear to children that their writing can have a range of audiences and that they can write for a range of purposes, then writing may come to be viewed as a more enjoyable form of learning. In order to increase children’s awareness of the various audiences and purposes that their writing could have I would enable them to experience writing not only in a variety of ways but also outside of literacy hour; rather than just writing stories I would get them to write letters, menu’s for food technology, instructions for experiments in science, biography reports in history, whether reports in geography are just a few examples. I would then encourage the children to share their work with one another in pairs, small groups or to other year groups so that they could see that their own written work was not solely produced for the viewing of the teacher. Another advantage in making children consider the importance of audience is that they are more inclined to pay attention to the transcriptional features of their written work (Lorraine Dawes; 1999).

Getting ideas for my piece of writing was difficult and I am not a novice writer, children are likely to have the same difficulty when wanting to create a piece of writing, therefore I would have to give them the opportunity to develop their ideas before they undertook the task of writing. This could be achieved in the shared writing component of the literacy hour; here I would show children how writing can be used for developing ideas. Activities such as mind mapping or brainstorming can be modeled and used as a way to generate ideas in a number of areas, i.e. on compositional aspects such as structure, tone, characters or on transcriptional aspects such as spelling, grammar and punctuation.

After writing my diary in draft, I was required to make a number of modifications to make it presentable, it had to be redrafted, proofread and checked for any transcriptional errors, to enable children to become fluent writers this is something that I would have to teach them. The ‘process writing approach’ developed in the 80’s argues that the process of writing is more important than the finished product, that composition is more important than transcription and that the teacher should strategically intervene in the process of writing rather than making judgments of the end product (Rebecca Bunting 1998). Donald Graves an advocate of this approach details in his 1983 book ‘Writing: teachers and children at work’ how children should be given the opportunity to engage in prewriting activities such as brainstorming ideas, drafting, editing, proofreading etc. He also argues that children should be given the freedom to choose their own topics for writing, be enabled to reflect upon their work and be given the opportunity to share and collaborate on their work with their peers and teachers. Both the National Curriculum and the National Literacy Strategy emphasize the role that the teacher should play in teaching children the processes involved in writing. However as Lorraine Dawes (1999) points out this could pose a problem as there is simply not enough time in the literacy hour to cover all of this. While some aspects of the writing process can be addressed in the literacy hour efforts have to be made to form cross curricular links and time needs to be made for extended writing in the timetable. The process of writing can not be taught in one literacy hour; therefore I would spend time developing children’s writing in any given topic over an extended period. For example on any given project one lesson may be spent on generating ideas for a piece of writing, another to produce a draft, another to editing and redrafting and finally one to producing a final piece of work, this approach would therefore not only produce a final piece of work but it would also teach children that writing is a process with many elements.

I paid little attention to the transcriptional aspects of my diary because I knew that eventually it would be word processed, however I do acknowledge that this is an important skill that children need to learn. The teaching of transcription skills within the literacy hour is important for now I will only focus upon spelling. Children have different learning styles therefore it would be important that I give my students the opportunity to practice a variety of techniques. Within the word level work component of the literacy hour I could use any of the following to teach spelling, techniques to develop kinesthetic memory, visual memory or auditory representations. The first approach would encourage the children to internalize words by repeatedly practicing writing them, for example they could use their index finger to practice writing a word on any surface, essentially the “hands get in the habit of writing certain patterns” (Medwell & Wray; 2001), an advantage to this approach is that children could then take their spelling away and practice them at home alone or with their family, however Bearnes (1998) notes there are drawbacks to this approach, the main one being that the child may see it as a form of punishment. S. Thompson (1990) advocates the use of visual imagery in helping children learn to spell, here children learn to hold images of the letters or components of a word, though this can be difficult for some children. If neither of the above is successful then children could use auditory representations, for example children could be taught to pronounce any given word as it looks (Bearnes 1998), the main drawback of this is that children may become confused and think that this is how the word is really pronounced.

The potential for the use of ICT in English is great; there are a number of word processing programs which children can use to produce written work as long as the facilities are available. Most schools now have computer suites or at least access to one computer in the classroom. I would encourage the use of computers as they have great potential for children learning to write, firstly it allows them to attend to transcriptional aspects of their work much easier as there are spellchecker, grammar and punctuation facilities. It also allows for children to partake in what Graves (1983) calls prewriting activities, allowing children access to ICT facilities to produce written work enables them to use word processing to draft their work, it enables them to learn how to manipulate tools such as cut and paste, and highlights that writing is a process with many stages. In addition to this packages such as desk top publishing will allow children to turn their written work into books, pamphlets, newspapers etc, thus creating a professional look to their work. If children are given the opportunity to use ICT not only in English but across the curriculum for written work I am sure that they will see it as a more enjoyable form of learning.

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Essay: How Do Composers Influence Responders?

How Do Composers Influence Responders Essay

Composers use many different ways to influence responders, depending on the text. Each type of text has its own unique structure where meaning can be created. Three texts that will reinforce this include "The Hurricane" a film directed by Norman Jewison, an internet article written by Stan Isaacs and "Hurricane", a popular song by Bob Dylan. Each of these texts positions the responder a different way. They all refer to the boxer Rubin Carter and his imprisonment for a triple murder in 1966.

The text " The Hurricane" as released in 1999. It depicts the false imprisonment of the boxer Rubin "Hurricane" Carter. Though Carter was convicted three times for the murder of two people in a bar in Patterson, New Jersey. This text strongly portrays Carter as innocent and a victim of racism in America in the 1960's. The responder is positioned to believe that Carter is innocent and was wrongfully convicted. The composer, Norman Jewison, portrays Patterson as a racially biased community and that Carter was a victim of the "system". He emphasizes that an all-white jury convicted Carter and white detective De La Pesca, harassed Carter since Carter was 11 years of age.

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Norman Jewison has influenced the responders in various ways in order for the responders to believe that Carter was the victim. He uses a variety of film techniques to influence the responders. One crucial scene that highlights Jewison's approach is the arrest scene when Carter was 11 years old. Carter is seen running down a street with a group of his friends. The next shot has the group in a park overlooking a river and waterfall below. While the boys are playing, a well dressed white middle aged man approaches one of the boys and strokes the boy's hair. This underlining pedophilic notion angers Carter, who ends up hitting the man on the head with a thrown bottle. The man grabs Carter and holds him over the edge of the cliff, at which point Carter stabs him in the shoulder, and proceeds to run away. However, the cops haul the young Carter down to the police station by himself upon which he is interrogated by two white cops. One of which is the character of De La Pesca, the white cop who stays after Carter throughout the entire film.

The composer uses several techniques in this scene to influence responders. In the beginning shot, the one in which Carter and friends are running down the street, a very unique style of colour is used. The composer opts for an almost coffee coloured scene to give the impression of olden day times. This colour technique is coupled with playful, jovial music to give the impression of innocence, youth and lightheartedness. It makes the responders feel as if Carter and friends are harmless and only looking for some fun. However, when the shot of the attack scene is in progress the music and colour is no longer lighthearted. By changing just these two techniques the responders know the mood for this shot is very different from the one before. At first the children are just playing but when the man approaches the responders are made to feel anxious, aggravated and even scared, through the colour change and the lack of jovial music. When Carter is held over the edge of the waterfall a camera angle is used to show the height and depth of the waterfall compared to the struggling 11 year old Carter. So, when the man is stabbed the composer has made sure there is no doubt in responder's mind that it is self-defence.

In the next shot, at the police station, the composer uses very little lighting to give the impression of depression, fear and anger. The composer also uses a low angle camera technique facing up towards the detectives. This camera technique gives the impression of superiority, and exaggerates the size of the two detectives leaving Carter to look forlorn and much smaller. By using two detectives in this scene, and leaving Carter by himself without legal representation, the composer automatically has appealed to the responders sense of fairness because for Carter its "two against one". Another way the composer plays on the responders sense of fairness is by using dialogue in which the detectives are grammatically correct and articulated whereas Carter just mutters the same grammatically incorrect statement "I didn't do nothin'..". Responders are made to feel angry by De La Pesca's handling of the boy; he uses such phrases as "… Nail your black ass down…" This rude, mean and racist statement provokes the responders into feeling a need to protect the young boy.

Another text in which the composer influences the responders is Stan Isaacs internet article about the championship fight between Rubin Carter and Joey Giardello in 1964. There is much controversy surrounding this particular fight and who won it. Joey Giardello was awarded the fight. However, in Stan Isaacs article, Stan supports Carter and believes Carter should have one the fight. The composer uses a variety of techniques to influence responders and persuade them to his perspective. Before going into his views and opinions on the fight the composer mentions a prestigious award called the A.J. Liebling Award given by the boxing writers association, he goes on to say that he has on this award. By mentioning this particular fact the composer is influencing the responders to think his perspective and opinion is more valid and worth taking notice of. If the composer was to leave that part out, the responders would be less inclined to take notice of or be persuaded to his point of view. By including he is making a point that others have recognised him for his writing on boxing.

Another way Stan Isaacs influences responders is by informing us of Carter's attitude after the fight. He uses words such as "gallantly", "admiration", "graciously" and "praised Giardello". By including the latter the composer is making it known that Carter was a gracious loser and was not about to abuse his opponent this makes the responders respect Carter as does the mentioning of all the other words.

A third text in which the composer influences the responders is the song "Hurricane" performed and co-written by Bob Dylan. It is a song that is based on the autobiography of Rubin Carter called "The 16th Round". The song is very similar to the film, as they were both based on Carter's book. Like the film, the song portrays Carter as innocent and a victim of racial injustice.

One of the techniques Bob Dylan uses to influence the responders is his tone and the blunt, matter-of-fact lyrics. For example "In Paterson that's just the way things go. If your black you might as well not show up on the street less… you wanna draw the heat." By using this statement in his song he makes the responders feel as if Rubin Carter didn't even have a chance just because of his skin colour. Bob Dylan uses the line "Put in a Prison Cell, but one time he could-a been…The Champion of the world." By using this line Bob Dylan poses the question in responders minds "What if?" It provokes the thought that if he was not locked up that maybe he would be living the life of a champion, a superstar and how contrasting that life would be to the one in a tiny prison cell. He also includes the line "The D.A. said he was the one who did the deed…And the all-white jury agreed." By mentioning the all-white jury Carter was up against yet again brings in the notion that the case was racially biased and appeals to the responders sense of fairness.

Another way Dylan influences responders is by expressing his opinion on Carter's innocence. As an influential rock singer of the 60's if Dylan was to sing that Carter was innocent and openly displayed that as his opinion, then the majority of Dylan supporters and fans would follow that opinion as well. He uses the power he has as a rock star to influence responders.

In conclusion, in the three texts mentioned all the composers use different techniques to influence the responders. For example, tone or language used, music and colour, camera techniques, and influential power. They attempt to use these techniques to persuade responders to agree with their opinion or view. What links these texts together is the very controversial subject of Rubin "Hurricane" Carter, and the composers desire to get a message across on this particular subject.


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Tuesday, March 2, 2010

Essay on Housekeeping

Housekeeping Essay

Housekeeping by Marilynne Robinson is a book about choice, loss, transience and blurred boundaries. Through literary criticisms, we see three different opinions on the novel, which helps the reader to think more deeply about the novel. When reading these criticisms, it is easy to relate to one article more than the others. After reading three articles by Ravits, Kaivola and Smyth, I agree with Kaivola’s point on the novel, Housekeeping.

In Extending the American Range: Marilynne Robinson’s Housekeeping, Martha Ravits discusses that Ruth fits within a larger, already accepted grand scheme of literature. The already accepted literature consists of males being the protagonists, having a problem and solving it, therefore becoming the hero. Ravits compares Ruth’s family history to characters such as Huck Finn, Isaac McCaslin and Ishmael. These characters "undertook the struggle for maturity by choosing surrogate fathers" (Ravits 648) while Ruth is a girl who must ultimately choose a mother figure in place of the one she once lost. Ravits summarizes Housekeeping in terms of wilderness and her relationship with Sylvie. "Ruth adopts her aunt Sylvia as mentor and substitute mother in much the same way that the developing male in American fiction has taken an outcast as father-figure to facilitate his struggle for maturity" (Ravits 659). Ravits’ main point is that an author can take any aspect of typical male heroism in a novel and apply it to women. The wilderness is a theme in this novel. One may not think that wilderness would have a major role in a predominately female novel, but Robinson changes that. This book is centered around the lake, and the characters spend multiple times in the woods. The article talks about the typical male hero and that Ruth can be identified as this hero. Ravits compares Housekeeping to already accepted, good literature. She discusses that by putting a female in the role, it changes tradition. Robinson goes beyond ordinary literature and writes a novel about women and the decisions they must make. Ravits also considers the title of the novel, and what it means in our culture. She says that a house is "a major icon of female cultural existence" (662) and that it is destroyed in this novel. This is because Sylvie does not keep house like a culturally acceptable female would. The house is messy and she does not act as a typical mother would in our society. Basically, to Ravits, Housekeeping demonstrates "the urge to move beyond conventional social patterns" (666).

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Karen Kaivola has a different take on Housekeeping. She looks at this novel in terms of women and their role in society, but differently than Ravits does. She thinks that the novel is written for the reader to sympathize with Ruth and Sylvie. She also discusses the view that feminists may have on the novel. She says that some may like it, but to many it is very unclear. Housekeeping does not necessarily show a strong side of women that feminists would identify with. However, Kaivola thinks that one person may read and interpret this novel unlike the next. It can be looked at from many points of view, depending on who the reader may sympathize with, or the beliefs that one may have. "We need to make distinctions to construct meaning" (Kaivola 675). She is saying that we need to identify with one character, or have a certain perspective in our heads as we read in order to read a book and interpret it with meaning. Kaivola says that Housekeeping challenges this statement because Ruth and Sylvie are the opposite of culturally acceptable females and it challenges the reader to think from their point of view. In this thought, she discusses Ruth’s choice to follow Sylvie, unlike her sister and how readers are supposed to react to that. Kaivola knows that the reader must decide on their own whether or not it was a good decision because of the way the choice is represented in the novel.

Like Ravits, Kaivola thinks that "Housekeeping challenges conventional female roles by representing the repetitive nature of keeping house as an ultimately futile attempt to create order out of an ever-threatening chaos" (Kaivola 677). Sylvie has a less constrained life and can be more identified with Ruth’s grandfather. However, Kaivola discusses that Ruth does separate herself from Sylvie at one point of the novel. When Sylvie leaves her, Ruth is able to feel anger, and realizes that they are not identical beings. However, this takes Ruth into the idea of blurred boundaries, how she is never clear if she is dreaming, or remembering correctly. Ruth never completely becomes her own person. She has a desire to live her life to the fullest, but she never can achieve this. A life with blurred boundaries is characterized by "uncertainty, loss, and pain" (Kaivola 688).

Jacqui Smyth interprets Housekeeping as a novel which ultimately comes back to the idea of "home" and "house" and the understanding of it. She says that home is the norm and it defines everything else in life. This is the opposition to what we expect so it is seen as a negative in our society. She talks about the transience of Sylvie and how Ruth becomes a product of her transience. She talks about the home and how Edmund built is to be, and what it has become from Sylvie living in it. Since it was unfinished to begin with, it was like Sylvie was supposed to end up living in it. "The house is transient itself" (Smyth 285). There is no order, it has never been finished being built in places, and external forces have altered the house. "The town’s inability to tolerate transience ironically forces Ruth and Sylvie into becoming transients" (Smyth 289). After leaving Fingerbone, they have nowhere that they belong because they have no "home."

In looking at these three articles, I agree the most with Kaivola’s argument. First, I think that when reading this novel, the reader feels sympathetic to Ruth and Lucille. They have had a life of loss and when having to choose whether to stay with Sylvie or not, they must make a difficult decision. It is hard for the reader to choose whether or not they think Ruth’s decision is a smart one, because the reader’s feelings get involved. I agree that the reader must make distinctions to construct meaning, and it is hard to do this in Housekeeping because of the blurred boundaries. Moreover, it is questionable whether Ruth even makes the choice- or does she go with Sylvie because she is the stronger personality and Ruth needs somebody who will tell her what to do and make decisions for her for the rest of her life. Ruth is not an individual and it is too hard for her to become one. Even when she is grown up, she is still dreaming about her life and what she would like it to be, even though it will never happen. After she leaves Fingerbone, she tries to develop herself, but ends up waiting tables and imagining the life of Lucille. I agree with Kaivola in the sense that a feminist may not enjoy this book. I do not think that Ruth is looked at as a hero in this novel. She can’t make decisions, and runs away with Sylvie instead of standing up to what she believes in- because she doesn’t really believe in anything.

I agree that Housekeeping challenges the role of conventional females. However, unlike Ravits, I do not think that Ruth and Sylvie play the role of the hero. Some may think that leaving and starting their own lives may be considered heroic, but in my eyes, they do not do anything to earn the name of a hero. They do not accomplish anything in their lives, and Ruth will die dreaming. However, while they are not heroes to me, I understand what Kaivola says about women who are socially constrained to housekeeping and accomplish nothing in their lives. Sylvie does not care about materials such as the house and would rather do her own thing. However, this is not socially accepted and that is why this novel challenges female conventions.

Housekeeping really demonstrates feelings of loss and pain, but shows readers life away from the norm. I think the book gets the reader thinking about family, and is great for enjoyment.


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Holden Caulfield Essay

Essay on Holden Caulfield

We can learn about Holdenґs character from his own account of his adventures and to a lesser extent from his speeches and actions; and also from the reactions of others to him. Holden is like all teenagers; he has a mixture of moods and attitudes, and searches for some security. Holden is aware that there are many choices available, but he has had no instructions on religious or moral values.

Holden is virtuous; but it his virtue that leads him into difficulties. He expects everyone else to be like him, Holden sets very high standards. He is sympathetic and thoughtful – he asks Ackley out despite his dislike of him and visits Mr Spencer when he has the flu. Holden feels sorry for Sunny – the prostitute. He notices details such as her green dress and the he remarks on Mrs Morrowґs rings and her magazine, and the nunґs cheap glasses. Holden is an idealist. His high expectations include: honesty, which he expresses as a lack of phoniness and consistency, however these are not achieved by the adult world he must soon join, as a result of this he becomes more and more depressed.

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Holden hates hypocrites and phoneys, but meets few people who are honest. Even his teachers are phoneys; Mr Spencer acts in front of the headmaster, and the headmaster performs in front of the rich parents and Mr Antolini appears to have suspect morals. The nightclubs that Holden visits are full of phoneyґs; Sally Hayes adores them and is one herself. The acclaimed Lunts and Olivier, Ernie and the cabaret singers are praised by everyone except Holden; even his brother, D.B. has gone to Hollywood, the phoniest place of all; he goes as far as saying that he is a ‘prostituteґ because he sells his writing for films. The few people who are not phoneyґs though are Allie and James Castle.

Although Holden is innocent he is not naive. Society has affected him to the extent that he is aware of the cost of things. He refers to the value of his coat, his cases, his typewriter and even his pens. He does not cherish his possessions as he tells us. When his gloves were stolen the only thing he cares about is that he is cold. When he was a child he lost his belongings – now as a teenager he fails to take his change and hates people who spend time at posh restaurants and popular bars; yet there is a hypocritical side to him which makes him take taxis, go to bars, cinemas and theatres, and stay in hotels. EXUJMF Visit essaybank ca co ca uk ca for more ca Do not ca redistribute EXUJMF wwae aew esaeaes ayae aeba nae kcae aeuk:

Holden is both repelled and fascinated by sex. He longs to find what it is all about, and to experience the passion that was hinted by Stradlater and envied by Ackley. He watches from his hotel window in an almost voyeuristic fashion and finds that the reality is unappealing. He finds that Sunnyґs efforts to entertain him were dirty. Sex, which is so prized by the adult world, Holden finds worthless.

Holden is aware of the importance of social status, he canґt be in the same room as someone who is insecure about their status. Holden seems anxious to keep up with his contemporaries, behaving in an over the top manner with Stradlater, being rude to Ackley and refusing to answer questions. His friends find him immature but this is not surprising as he is two years younger than them.

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Monday, March 1, 2010

Essay on Hills like White Elephants

Hills like White Elephants Essay

Ernest Hemingway’s short story “Hills like White Elephants” is mainly told through the dialogue of two protagonists at a railway station in rural Spain. The labels on the luggage they carry are an indication of their nomadic life, and their conversations reveal their struggling romantic relationship. The girl, Jig, laments that their mundane lifestyle consists of nothing but “look at things and try new drinks” The lack of mentioning of the girl’s relationship to the American suggests that their relationship is not particularly serious or meaningful.

The calm, and simple setting as well as the lack of colorful imagery on their side of Ebro hills reflects their life, but contrasts the escalation of tension in their conversation. As they drink beer, Jig comments that the distant white hills against the “brown and dry” country “look like white elephants.” The American’s careless response to her observation and her disappointed reaction establishes the story’s pivotal issue.

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As tension between the couple continues to multiply through various attempts at small talk and the ordering of more drinks, the problem in the relationship emerges as an operation the American wants Jig to have. When he encourages Jig to have the “awfully simple” operation, and tells her that “They just let the air in and then it’s perfectly natural,” it becomes apparent that the operation is an abortion. The title of the short story insinuates pregnancy since the dictionary definitions of “a white elephant” defines it as a property requiring much care and expense and yielding little profit; an object no longer of value to its owner but of value to others, and something of little or no value. The child inside Jig will require unconditional care, love, and various expenses once it is born. Even though the pregnancy is invaluable to Jig, it means nothing but problems to her lover. The imagery of the hills and the curves of the Ebro characterize the shape of a pregnant woman, and symbolize that the pregnancy is a large hill in their relationship. The American likes traveling to places with Jig and enjoys their lifestyle since their relationship is only based on what they have now and not what they can have. He is unwilling to take the chance to give up or change anything in order to make their present life better because he is afraid to lose his possessions once he assumes his role as a father. He promises Jig his support for her after the operation, and assures her that life will go on as before as if nothing has happened.

Unfortunately, he fails to understand that the pregnancy has occurred and everything will be different no matter what Jig decides.

Jig is aware that the real concern is one of going past the point when care and respect can endure difficulties in a relationship. This seems to be the first critical issue they've had to face, to measure the depth of their relationship. Their weak relationship will eventually fall apart because the relationship lacks substance and understanding. If they cannot decide and agree on simple matters such as whether or not to have water in the drink, they cannot possibly agree on the important issues in their relationship such as having a baby.

The climax of the story appears when Jig is agitated by their irritating conversation and their romantic relationship. She begins to question about their uncertain future and his true feelings for her. She seems persuaded by the American when she comments on her willingness to do the operation despite her wants and needs because “she doesn’t care” about herself. At the same time, Jig begins to realize that life may not turn out the way she had planned. She remarks that the Anis del Toro “tastes like licorice,“ and that “everything tastes of licorice“, “especially all the things you’ve waited so long for.” She likes to try new things, like the drink, but is often disappointed in the end. She indicates that it is too late for him to make things better. The American believes that Jig is being reasonable for not wanting to having the “simple” operation done so they can “be all right and be happy“ again. He informs her that he has “known lots of people that have done it” in order to convince her to have the “awfully simple” operation. He says that the pregnancy is “the only thing that bothers us. It's the only thing that's made us unhappy.” He sees the whole issue as “simple” because he does not understand the real problem that is causing the misery. When he finally leaves Jig to get their bags for the train, he observes that the other people are “waiting reasonably for their train” because in his mind, Jig is the one to blame their troubles because she is “unreasonably waiting” for a future that he cannot imagine having with her. Ironically, he is unreasonable one because he is the one causing the problems by wanting the abortion. Jig realizes that their withering relationship is not the result of her pregnancy but the result of their failure to understand each other. She realizes that they are incompatible as a couple to have a family together. Even if she does have the abortion, she can no longer stay with him because he can never give her what she longs for. The story ends with an assurance from Jig that she is “fine,” as if she has made up her mind on the abortion issue.

Hemingway leaves the reader wondering about their final destination. He chooses the setting in the valley of the Ebro to symbolize the couple’s situation and options in life. They are on the sunless and barren side of the mountain where they can only see hills that looks like white elephants. At the end of the story, the American remarks “I'd better take the bags over to the other side of the station,” the side where there is growth and life. The train is representative of two different directions if life, however is unclear whether this signifies that the man has changed his mind about the abortion, or that Jig has decided to go through with the operation and leave him so they have to live separate lives. Jig has desires to change and to live a different life because she is aware of it. She is ready and willing to experience a different life while her lover is not. Hemingway strategically calls the man just “American,” and gives the girl a simple name to show the commonality of their problem reflected in society. He conveys that elements such as understanding, communication, honesty, and maturity, are essential to every healthy relationship. The lack of those elements leads to inevitable disintegration of a relationship.

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Parallelism in Art and Science Essay

Most people consider art and science to be two totally opposite fields. The former relies on the subjective side of man whereas the other is concerned with objectivity. However, certain aspects are common to art and science. In "Interpretation in Science and Art", Harold Osborne lays down the commonalities and differences between the two.

Osborne defines science as "[interpreting] the world by bringing order and regularity into the kaleidoscopic variety of experience, subduing its vagaries in the interest of understanding." Furthermore, the basic principles and concepts in science are formulated not by deduction or logical reasoning but through intuition. Many, if not all of the great discoveries in science began as intuitive insights which were verified by observation later on. Examples would be Planck's quantum hypothesis, Pauli's exclusion principle, and Einstein's attribution of deflection of light to the curvature of space, among others.

Art, on the other hand, concerns itself with creating "perceptible constructs" [for] the enrichment of perceptual experience and adding to the cultural heritage of mankind." Perceptible constructs are thought of to be direct apprehension of the world as opposed to theoretical knowledge about it.

Representational artists would depict a part of the phenomenal world in the hopes of creating a perceptible construct which can claim appreciation as an aesthetic object. Perceptual unity in every work i.e., viewing the art as coalescing and coherently compact whole enables us to expand our vision and perceptual powers.

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Comparing art and science, Osborne lays down the following to be the most important comparisons between them: (i) Both bring new order into the world; (ii) A scientific theory once accepted is in principle common property whereas interpretation in the arts relies on subjectivity and individuality; (iii) Both originate as an act of creative insight which cannot be reduced to rule; (iv) Imaginary situations have no place in science whereas in the arts, they make a major contribution; (v) Scientific interpretation is open and invariant for every man unlike in the arts which requires a special skill or ability to be able to appreciate its products; and (vi) Science deals with things that can be quantified as common to individual in the mass while subject matter in the art may deal with quality and interpretation is supremely individual.

With regards to the statements mentioned above, I would have to agree to most of them. In actuality, it is clear how both science and the arts spring from creativity. While evidence of creativity is obvious in the arts, creativity in science is usually undermined. While most think that new ideas in science are observations of what is already there, they fail to realize that without creativity as a springboard, the scientist will not be able to think of how to collate those observations as one coherent scientific theory. A creative mind is necessary to be able to come up with explanations that are new, fresh to the scientific world. In this sense, scientific ideas and their written work can be considered literature. Moreover, it takes a great deal of creativity to be able to notice the minute details which a scientist looks for and even more creativity to come up with the designs for new equipment and experimental processes. The making of these new equipment and processes is oftentimes creating a work of art in itself. Try talking to an inventor and this idea will be apparent.

When the topic of beauty is regarded, it is not as easy to define beauty in the sciences as it is in the arts. Still, beauty is present in the way certain phenomena are explained by the scientist. Like works of art, a scientific theory has to contain coherence, lucidity, elegance and scope. The concept of beauty in science is not only in the aesthetic sense. With this statement, I am inclined to agree. Unlike in the arts, relevance plays the primary role. If I were to choose which is more beautiful, the ancient belief that everything revolves around the earth or the empirically provable Copernican theory of the earth revolving around the sun, I pick the latter. Although the former may be beautifully worded and may sufficiently explain a phenomenon based on the data of its times, its relevance today has waned because it has already been disproved. This is consistent with the idea of science as a field which demands that concepts and theories be proven, oftentimes empirically, before it can be relevant. Unlike in the arts wherein a work depicting disproved ideas are still revered. For example, sculptures of the Greek period, whose depiction of the human as a perfect creation detached from emotions, is still admired for its beauty.

I would, however, tend to object to Osborne's idea that the interpretation of science is open and invariant for every man while the arts require a "perceptual skill which arises from a special ability often restricted". I believe that like the arts, true interpretation of science requires a special skill that must be trained and cultivated. It is true that basic knowledge of science is widespread and common to many but this is brought about by the greater exposure given to science by society. If exposure to the world of arts were not limited, then perhaps a basic understanding of how to interpret art can become common to everyone. Still, it holds true that to be able to understand the grandiose of the world of science, one needs to learn the language of science which invariably requires a special skill that has to be first instilled in an individual. Just like in the arts.

In the end, we can see that important parallelisms exist between the arts and science. The major point being that both try to depict the world they live in. The scientist tries to do this by using observations and by quantifying everything while the artist concerns himself with any possible medium. Both of them also contain subjectivity and creativity. Despite the nature of science to be concerned only with the objective side, we still cannot take away the fact that scientists are human beings and as such, they cannot be purely objective. It is this subjectivity which provides for the diverse opinions in the world of science. And the presence of this subjectivity, coupled by the creativity factor, enables scientists to come up with new ideas and new scientific "works of art".

The major difference that we have to realize is their subject matter. Because scientists are concerned with only the things that are quantifiable, the role of subjectivity is limited, both in the creation and interpretation of their works. For the artist, subjectivity is not as limited.

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