feminaw Feminist Reading of Kate Chopins The Awakening...

A Feminist Reading of The Awakeningnbsp;nbsp; The Awakening is not new to me. However, in the class when I read it before the instructor refused to entertain a feminist criticism. The theory presented was that Edna knew what kind of man she was marrying and all these things she went through: her friendship with Madame Reisz leaving the house, entertaining her friends at the party, her situation with Robert and Arobin were all selfish efforts toward the ultimate freedom which is death. I feel Chopin faults Leonce as much as Edna for Ednas problems. He is a cold fish. He is controlling and he puts on a show for friends and neighbors proving he is a model husband which he is not. He is Creole and I think Edna, being as reserve†¦show more content†¦Her search for freedom builds and destroys relationships. She befriends people and then chooses to ignore them. Her final big party is her final farewell. She brings out all the sensuousness that her reserve had kept her from expressing and enjoying. Everything pleasing to the senses is there for her guests. There are colors, textures, tastes, and sounds for the senses to luxuriate. But all this sensory enhancements doesnt keep her attention. She feels the same old ennui, and the party shortly thereafter breaks up. Of course, all this meets with Leonce disapproval. His concern is not about his wifes mental or emotional health, but rather, what people will say. To experience freedom of the soul Edna has no choice but to return to the sea. It is the only thing capable of giving her the emotional security and sensual satisfaction at the same time. She goes to it and allows it to claim her. Like many of Chopins stories, The Awakening ends in a death. Chopin apparently sees death as the ultimate freedom. No matter what we do as women in this world we are always restricted in our movements by some facet of our lives. While Chopin tries to speak for women, I think this premise that our lives are restricted also applies to men. There may not be as many restrictions but they are there. Freedoms just another word for nothin left to loose.Janis Joplin The

Brain Injury and Multiple Stage Rehabilitation - 956 Words

Does anyone ever want to experience something that is the number one cause of death in people under the age of 44? Would anyone want to go through multiple stages of rehabilitation just from one little mistake they made while playing for their high school football team? Brain injuries are a big controversy in society right now, but understanding why theyre so common in youth sports, some statistics and what they are, and the treatment for them will change the outlook that some people have on them. Being educated on brain injuries in the world we live in is a must nowadays. What most people don’t realize is how often brain injuries occur. Brain injuries are the number one cause of death in people under the age of 44. Brain injuries occurs†¦show more content†¦Someone who has had a head injury must undergo minor testing to detect the severeness of the injury; then from there they may have to experience further tests or check ups to correct the problem. There are multiple stages of rehabilitation that you can go through to help your brain return to its former glory. When you first get hurt you should visit the emergency room. From the emergency the patient will be emitted into the intensive care unit, or the ICU. In this location the doctors will stabilize the patients health. They can monitor his heart and run test while the patient is in the ICU. If they need help breathing then they can be put on a ventilator to help them maintain a stable heartbeat (â€Å"Tre atment†). Once a patient is well enough and stable enough, they will be removed from the ICU and placed into acute rehabilitation. In acute rehabilitation nurses will help you get back to doing everyday life things. They help you get use to doing common daily activities. When the patient is well enough to participate in more intensive therapy, they are moved to postacute rehabilitation. This is more of a natural stage of healing. It is used to allow your body to regain its ability to survive on its own, without medical care. Someone who cannot handle the intensity of postacute rehabilitation, they get transferred to subacute rehabilitation. This is pretty much the same as postacute rehabilitation, but it is more like a nursing homeShow MoreRelatedStrokes Essay794 Words   |  4 Pagesstroke rehabilitation covering patient management in the acute, subacute, and chronic phases of poststroke treatment. Cognitive, behavioral, and functional assessment in the subacute poststroke p hase is discussed, neuropsychiatric problems occurring during this phase are identified, and cognitive deficits and perceptual deficits encountered during occupational therapy are described. Speech, recreational, and music therapy and social support services are also considered. Rehabilitation Psychology: Read MoreEssay on Traumatic Brain Injury1393 Words   |  6 PagesTraumatic Brain Injury Your kitten is on the kitchen counter. 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Censorship in American Animation Essay Example For Students

Censorship in American Animation Essay Censorship in American animation dates back to the Motion Picture Production Code of 1934, during an effort that preceded the Motion Picture Association of America’s film ratings system. The code was defined as the set of moral guidelines to be followed within the film industry; it ultimately became the only institution governing the production and censorship of most motion pictures produced or distributed within the United States before the film ratings system was implemented. While all motion pictures were subject to censorship under the Motion Picture Production Code, animated shorts and features were carefully inspected due to their impact on children as well as the ability of animators to draw characters in any way or engaging in any act. Perhaps the most famous example of censorship in American animation comes with the â€Å"Censored Eleven,† a group of Looney Tunes and Merrie Melodies cartoons that were banned from syndication in the United States in 1968. The United Artists studio, which owned the distribution rights at the time, decided to stop the future broadcast of these eleven specific animated shorts due to their political incorrectness. Because these cartoons were banned for being too offensive for contemporary audiences, they have not been officially broadcast on television since their banning in 1968. This fact alone provides us with understanding the power of censorship. In the instance of the â€Å"Censored Eleven,† racial themes are so essential to these cartoons that no amount of selective editing would make the collection acceptable for syndication, distribution, or broadcast. With this example, we understand that censorship in animation is different than other media due to how selective it is in nature. Censorship in war eras (specifically after or around World War II) was less rampant than in other time periods. Superman could easily get away with fighting the Japanese in 1942 because Fleischer and Famous Studios had gone through great lengths to explain the type of enemy they were and why we must defeat them. This version of Superman as an American super-weapon has actually been quite popular throughout the life of the character, which could be argued as relatively expected. Who better than a truly American role model to show children that the United States can do no wrong? Additionally, there is an interesting commentary on the role of censorship in this instance. Are animated terroristic-like acts and racism suddenly acceptable once the Japanese or Nazis became involved with the affairs of United States citizens? Perhaps censorship serves a fundamental role in the attitudes of Americans by choosing what sentiments to share. The answer to these questions is unfortunately still being written. The Production Code of 1934 required a priori censorship, meaning scripts and storyboards needed to be approved by the censorship authority prior to the finished product being placed on the market. However, in the world of animation, most of the editing and censorship has been post hoc, meaning a finished product being removed from distribution or edited without the consent of its creators. This form of selective censorship brings several moral, ethical, and artistic ambiguities with it and still affects us as Americans today. Censorship in cartoons is sporadic and almost hypocritically in its nature, as seen when comparing the racist nature of Coal Black and de Sebben Dwarfs (one of the â€Å"Censored Eleven†), with the violence in wartime Superman and the Eleventh Hour. This lack of a uniform standard concerning censorship across the animation industry leads to the spotty and incomplete removal of potentially harmful material. Perhaps the most important thing to note when looking at censorship within the animation industry is the fact that animation is considered in many instances an entertainment form designed specifically for children. Additionally, rarely does an â€Å"Edited for Television† disclaimer preface a content-edited cartoon. This directly relates the hypocritical nature of American censorship in animation; we want to ensure that our kids are safe from questionable material, but we also want to ignore its happening. .u9620f95da619ea5cdc85d22d3315b740 , .u9620f95da619ea5cdc85d22d3315b740 .postImageUrl , .u9620f95da619ea5cdc85d22d3315b740 .centered-text-area { min-height: 80px; position: relative; } .u9620f95da619ea5cdc85d22d3315b740 , .u9620f95da619ea5cdc85d22d3315b740:hover , .u9620f95da619ea5cdc85d22d3315b740:visited , .u9620f95da619ea5cdc85d22d3315b740:active { border:0!important; } .u9620f95da619ea5cdc85d22d3315b740 .clearfix:after { content: ""; display: table; clear: both; } .u9620f95da619ea5cdc85d22d3315b740 { 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; } .u9620f95da619ea5cdc85d22d3315b740:active , .u9620f95da619ea5cdc85d22d3315b740:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u9620f95da619ea5cdc85d22d3315b740 .centered-text-area { width: 100%; position: relative ; } .u9620f95da619ea5cdc85d22d3315b740 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u9620f95da619ea5cdc85d22d3315b740 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u9620f95da619ea5cdc85d22d3315b740 .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; } .u9620f95da619ea5cdc85d22d3315b740:hover .ctaButton { background-color: #34495E!important; } .u9620f95da619ea5cdc85d22d3315b740 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u9620f95da619ea5cdc85d22d3315b740 .u9620f95da619ea5cdc85d22d3315b740-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u9620f95da619ea5cdc85d22d3315b740:after { content: ""; display: block; clear: both; } READ: Communication Technologies - LAN and Topologies and Data Flow EssayThis also shows a lack of respect for the artists involved in the production of these cartoons and once again brings up the moral ambiguities concerned with censorship. Now, the American animation industry is more about commercialization than characterization, and the art of the animated short has nearly vanished from television in the United States altogether. This is direct evidence that we have moved to developing narrative within full-length animated shows and features. As the political climate in the United States becomes more progressive and moderate, animation censorship has as well. We now rely primarily on a ratings and self-censorship system in which parents are assured that studios will uphold the moral values and standards appropriate for the audience’s respective ages. Why are we still talking about censorship in 21st century America? Perhaps, at least when examining the case of animation, censorship in the Golden Age of animation (and even today) had little to do with the processes surrounding animation itself. As mentioned before, these cartoons were typically edited post hoc, after production was complete; this gives us the notion that someone down the line believed that they were morally and socially acceptable to create. Censorship, because we can now understand its inclinations fully, can be defined more as a reflection of society and what we determine to be acceptable as entertainment. The conversation about censorship, though old, is still relevant and continues today, as our ideas concerning morality and tolerance are constantly changing. Bibliography: Couvares, Francis G. Movie Censorship and American Culture. Washington: Smithsonian Institution, 1996. Print Heraldson, Donald. Creators of Life: A History of Animation. New York: Drake, 1975. Print. Cohen, Karl F. Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, NC: McFarland , 1997. Print. Yenika-Agbaw, Vivian S., Ruth McKoy Lowery, and Laretta Henderson. Fairy Tales with a Black Consciousness: Essays on Adaptations of Familiar Stories. New York: McFarland , 2013. Print.

Economics for Business Gas Retailers

Question: Discuss about the Economics for Business for Gas Retailers. Answer: Introduction The gas supply industry in Australia mainly consists of the gas retailers who purchase as well as sell the gas. The gas supply industry also consists of the distributors of the gas. Gas distributor mainly operates in the distribution network and they distribute the gas to the end-users. The operations of the retailers and the distributors have been increasingly disaggregated with the help of the successive privatization schemes. Along with the strong demand in the gas industry, the supply of the gas industry is also increasing at a rapid manner (Cochran 2015). As per the reports, the export of gas in Australia has increased over 60 million tones. The gas supply in Qatar and Malaysia is also liable to be overtaken by the Australian gas supply industry. The gas supply industry is becoming more disjointed with the increase in the number of the importing and exporting countries. The consequence for Australia is a more miscellaneous and more unstable market. The gas supply industry in Australia operates in the monopoly market structure that leads to large transportation of the pipeline as well as the distribution companies (Vickas et al. 2015). Through the gas distribution main, the gas supply industry distributes the natural gas to the customers. The firms in turn distribute the contrived town gas or the LPG that is the liquefied petroleum gas. The participants in the industry also retail the gas to both the trade and the customers. The gas supply industry in Australia mainly faces the monopoly competition in the market. The main reason is that a single supplier mainly distributes the gas that in turn leads to the monopoly competition. The suppliers are the price makers in this case (ZENG and CHEN 2015). Under the monopoly market structure, the gas suppliers will generally charge the prices, which will be in excess of the production costs. This will help the company to generate higher profits. The output of the gas supply industry will become substantially smaller as the prices under the monopoly market structure will be comparatively higher. The demand for the gas will be inversely related to the price (Williams 2016). The gas supply industry in Australia is mainly undergoing a noteworthy structural change. The profitable and the industrial businesses, which are gradually competing against exporters for gas, are finding it hard to bargain supply contracts. The supply contracts are on the other hand set at a privileged price. The households are also, on the other hand paying more for gas than they should and as a result, the gas supply industries are enjoying the monopoly competition. Australia has become a home to the largest gas deposits in the world. Australia has become a biggest exporter as it involves an investment of around $200 billion in liquefaction as well as the distribution facilities. As per the reports, the suppliers have taken the advantage of the uncertainty in the supply and the potential shortfalls in order to raise the prices. A gas retailer needs to continue to supply gas to the customers in all exceptional situations. The three largest energy companies in Australia are the AGL Energy Limited, Origin Energy Limited and Energy Australia Holdings that mainly dominates the eastern seaboard. It also provides the customers with the bundled gas and the electricity packages (Dibden 2012). The gas supply industries are mainly characterized by the higher prices as well as shorter duration. These in turn are likely to decrease industry margin. This in turn will increase the wholesale price of gas and lead to the increased household bills. The future supply viewpoint thus becomes uncertain. The gas supplies are considered competitive and as a result, the distributions of the gas supply remain strongly regulated. The pipeline and the conduction firm at the wellhead, in turn buy the gas for delivery (Abbott 2016). In the gas supply industry in Australia, the pipeline operators have a persistent market power. As a result, the pipeline operators are not effectively restraint by the competitive forces, which includes the current regulatory structure. The pipeline operators are also engaged in the monopoly pricing and as a result, they obtain the return that is comparatively higher as compared to the competitive market (Miravete et al. 2014). This in turn gives rise to a privileged delivered prices of gas and is known to give rise to an unfavorable economic effect. The information irregularity limits the ability of the shippers in order to identify the exercise of the market power. As per the reports, the state gas suppliers as well as the pipeline operators abuses the monopoly pricing in order to measure the higher prices out of the domestics consumers (Saaskilahti 2015). It has been recommended by the ACCC not to put in place a domestic reservation policy as it acts as a discouragement to investment. The ACCC also advises a new test in the regulations of the pipeline of the gas in order to put off the exercise of monopoly. Conclusion The gas supply industry in Australia mainly faces the monopoly competition in the market. The main reason is that a single supplier mainly distributes the gas. It has been concluded that the pipeline operators are also engaged in the monopoly pricing and as a result, they obtain the return that is comparatively higher as compared to the competitive market. As a result, the information irregularity limits the ability of the shippers in order to identify the exercise of the market power. References Abbott, M., 2016.The Economics of the Gas Supply Industry. Routledge. Cochran, M., 2015. Conventional and alternative transport fuels in Australia.Energy News,33(4), p.4. Dibden, J., 2012. Proponent: AGL Energy Limited Local Government Area: Bogan Shire Council. Miravete, E.J., Seim, K. and Thurk, J., 2014. Complexity, efficiency, and fairness of multi-product monopoly pricing. Sskilahti, P., 2015. Monopoly pricing of social goods.International Journal of the Economics of Business,22(3), pp.429-448. Vickas, M., Mcmanus, P. and Dey, C., 2015. From the Seam to the Stove: greenhouse gas assessment and the coal seam gas industry in Australia.Australian Geographer,46(1), pp.73-90. Williams, J., 2016. Economic insights on market structure and competition.Addiction. ZENG, F.H. and CHEN, J.J., 2015. Literature Review and Comment of Technical Monopoly Competition.Accounting and Finance,1, p.017.

Stranger with a Camera Essay Example For Students

Stranger with a Camera Essay To the audience watching the film â€Å" Stranger With a Camera,† many wonder to what extent does the filmmaker, Elizabeth Barret’s personal connection to the town lead to a bias in the film? Filmmakers and paparazzi have a large amount of power because of their ability to simply alter the stories they publish. Did Barret alter the truth of what happened between Hugh O’Connor and Hobart Ison? This fact plays a key role in Elizabeth Barrets film Stranger with a Camera and allows the question to arise. Since most people take in the media with a grain of salt because the media never provides the full truth, then to what extent would the filmmakers in â€Å"Stranger with a Camera† have been able to document the stories of Hobart Ison and Hugh O’Conner and also the poverty in Appalachia without portraying a Bias? Although it may be easy to assume a bias knowing Elizabeth Barret’s personal connection to the town, in Stranger with a Camera, Barret did an excellent job at exploring the multiple perspectives of the situation in the film while keeping her views open-ended. We will write a custom essay on Stranger with a Camera specifically for you for only $16.38 $13.9/page Order now Barret decided to include herself in the film because she was able to personally understand what was going on in the town as well as relate to the filmmaker’s dilemmas. â€Å"Stranger with a Camera† portrays a poor community in the coal-mining heart of Appalachia that attracted mass media attention that turned Appalachia into an icon in the nation’s War on Poverty. The area was analyzed thru the different cultures and how each culture collided with another. But how the town and cultures were being depicted angered many locals. There was a situation where a picture of a child was published and it gave the impression he was consuming dirt because he wasn’t fed properly. This angered the locals because everyone knew the child was actually fed properly and the media was portraying lies about the town. The town’s people were furiously angered because they knew that the stories they saw published about their community were not being portrayed truthfully and certain characteristics were being left out. When creating the film, Elizabeth Barret explored questions such as; what is the difference between how people see their home and how others represent it? As a storyteller, what are your responsibilities? Is it the filmmaker’s job to just tell what they see or give an analytical perspective? In Clifford Geertz excerpt â€Å"The Impact of the Concept of Culture on the Concept of Man† Geertz gives an effort to make the point that the concept of culture is the definition of man. In the essay, Geertz criticizes the popular analogy of a man and his culture as a form of an onion. Geertz gives several problems with this analogy, the most important the lack of true human and second that such universals cannot be attached to biological, psychological, or social organizations (Geertz, 38). So how does Geertz arguments relate to Elizabeth Barret’s approach in â€Å"Stranger With a Camera? † Elizabeth Barret displays how the media only cover events they want the public to see. If the eyes behind the camera feel the need to exaggerate or alter what they see through the lens, then they have the frightening capability of doing so. Barret’s approach answers the previous questioned on how things are being depicted are viewed by different audiences and Geertz arguments supports the social consequences of the two cultures collided because Geertz argues that such universals cannot be attached to social organizations, which we see from the two different cultures in the town. When it comes to the media, the consumer is typically told a stretched out and twisted version of the truth. Audiences must learn to question to what extent the material we view is believable and become comfortable with the ambivalence that comes with the media’s stories. .ud30a59649a2ce75f12e6682aa62bcf40 , .ud30a59649a2ce75f12e6682aa62bcf40 .postImageUrl , .ud30a59649a2ce75f12e6682aa62bcf40 .centered-text-area { min-height: 80px; position: relative; } .ud30a59649a2ce75f12e6682aa62bcf40 , .ud30a59649a2ce75f12e6682aa62bcf40:hover , .ud30a59649a2ce75f12e6682aa62bcf40:visited , .ud30a59649a2ce75f12e6682aa62bcf40:active { border:0!important; } .ud30a59649a2ce75f12e6682aa62bcf40 .clearfix:after { content: ""; display: table; clear: both; } .ud30a59649a2ce75f12e6682aa62bcf40 { 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; } .ud30a59649a2ce75f12e6682aa62bcf40:active , .ud30a59649a2ce75f12e6682aa62bcf40:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud30a59649a2ce75f12e6682aa62bcf40 .centered-text-area { width: 100%; position: relative ; } .ud30a59649a2ce75f12e6682aa62bcf40 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud30a59649a2ce75f12e6682aa62bcf40 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud30a59649a2ce75f12e6682aa62bcf40 .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; } .ud30a59649a2ce75f12e6682aa62bcf40:hover .ctaButton { background-color: #34495E!important; } .ud30a59649a2ce75f12e6682aa62bcf40 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud30a59649a2ce75f12e6682aa62bcf40 .ud30a59649a2ce75f12e6682aa62bcf40-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud30a59649a2ce75f12e6682aa62bcf40:after { content: ""; display: block; clear: both; } READ: Sex and the City: Feminist Fake? EssayAlong with almost everyone else, most people can personally relate to this as viewers. Growing up in a world that consists and communicates mainly through the media, one must grow up to understand that the pictures and the articles we read, are most likely not telling us the full truth. People must develop a sense of ambivalence towards the material we see in the media. The media challenges viewers to decide if what they are viewing is true of false. In Greetz excerpt, he states that culture is the central ingredient in what makes us human rather than a later added addition (Geertz, 47). We can use this claim by Geertz to analyze Elizabeth Barret’s connection to the town and its culture and how she used to portray the film. Barret lived closely to where the filmmakers were working so she was able to relate to how the local’s felt when they saw their community being dishonestly reflected in the media. Some locals were optimistic at first that the media attention would bring change or help to their town. While most others were enraged by the attention they were receiving and how their community was falsely being portrayed to the rest of the world. Barret found that the films being made of the people in Appalachia were insulting because they strictly focused on making the poor people look poorer as opposed to emphasizing the wealth of who these people were. Because of this she was able to understand where Hobert Ison’s indignation came from. Barret’s film is all about the media manipulating what they photograph therefore it makes sense in Barret’s her choice to include her own filmmaking perspectives because it gave the film a more believable aspect. Barret analyzes the conflicting perspectives from the filmmakers and the locals. Specifically, Barret displays Hugh O’Conner, the filmmaker’s intentions verses Hobert Ison, the landowner’s rage. O’Conner was very much a people person who traveled frequently. Hobert was a hunter and a good carpenter who was well respected in his town. However he was very proud of his land and did not appreciate anyone messing with it, which was exactly what O’Conner and the filmmakers did. After there had already been quite some attention brought to the town, most of the residents there were irate. Anyone who saw their home or community in the media shone in a light that they knew to be fallacious would be as well. Eventually this led to Hobert shooting and killing O’Conner with his gun because O’Conner was shooting Hobert with his camera. A quote from the film that was said by Colin Low who is part of the National Film Board of Canada said, â€Å"A camera is like a gun, it’s threatening†. The filmmakers were using their â€Å"guns† on Hobert’s land and in response he fired his gun back at them. The camera is an invasive and exploitive device. Hobert had felt invaded and threatened by the multiple cameras in his town while the filmmakers where merely doing their job to cover a story. Barret conducted multiple interviews analyzing the perspectives from O’Conner’s daughter and other filmmakers, along with the locals from the town who knew Hobert. She displayed that as the filmmakers may have been intrusive, their only task that they were attempting to accomplish was to cover a story. Hubert was undoubtedly wrong to take O’Conner’s life but pertaining to the situation however, his actions were considered understandable. Barret was successfully able to display the multiple perspectives from the story while keeping the overall perspective of the film open-ended. Barret did not forcibly set out to show the viewer why her opinionated views were right. Her main goal was simply to cover and analyze the entirety of each perspective of the situation through her film. She successfully accomplished this goal because she was able to keep the opinions open-ended and develop multiple questions for the viewer. â€Å"Stranger with a Camera† tells a story about a fatal shooting and viewers analyze what led Hobart Ison to shoot Hugh O’Connor? .uf6da32eab98cab97f62d3b543fbb340b , .uf6da32eab98cab97f62d3b543fbb340b .postImageUrl , .uf6da32eab98cab97f62d3b543fbb340b .centered-text-area { min-height: 80px; position: relative; } .uf6da32eab98cab97f62d3b543fbb340b , .uf6da32eab98cab97f62d3b543fbb340b:hover , .uf6da32eab98cab97f62d3b543fbb340b:visited , .uf6da32eab98cab97f62d3b543fbb340b:active { border:0!important; } .uf6da32eab98cab97f62d3b543fbb340b .clearfix:after { content: ""; display: table; clear: both; } .uf6da32eab98cab97f62d3b543fbb340b { 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; } .uf6da32eab98cab97f62d3b543fbb340b:active , .uf6da32eab98cab97f62d3b543fbb340b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf6da32eab98cab97f62d3b543fbb340b .centered-text-area { width: 100%; position: relative ; } .uf6da32eab98cab97f62d3b543fbb340b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf6da32eab98cab97f62d3b543fbb340b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf6da32eab98cab97f62d3b543fbb340b .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; } .uf6da32eab98cab97f62d3b543fbb340b:hover .ctaButton { background-color: #34495E!important; } .uf6da32eab98cab97f62d3b543fbb340b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf6da32eab98cab97f62d3b543fbb340b .uf6da32eab98cab97f62d3b543fbb340b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf6da32eab98cab97f62d3b543fbb340b:after { content: ""; display: block; clear: both; } READ: Movie Summary - Rachel Getting Married EssayA quote from Cifford Geertz’s excerpt says, culture provides the link between what men are intrinsically capable of becoming and what they actually, one by one, in fact become (Geertz, 52). We can use this quote to analyze why Hobart Ison decided to shoot Hugh O’Connor and the aftermath of the shooting. After Hobert had fired his gun he came to be considered a hero in that small town. Hobert was only sentenced to ten years in prison but was paroled after only one. This is strange because criminals typically serve a much more severe punishment after taking another’s life. The film stated how it was almost impossible to find a suitable jury because Hobert’s whole community rallied behind him even though he had shot someone. If someone’s life is taken out of an enraged act that draws attention to an obvious issue, then should his or her punishment be any less? Barret portrays how both sides, the filmmakers and Hobert, were pushing their limits. Barret vividly demonstrated what happens when those generic borders are pushed. The filmmakers were pushing the Hobert’s property line along with the integrity of the town. In return, Hobert definitely was pushing the boundaries of the law when he pulled that trigger. What Hobert did was wrong but in the context he got off with a rather fair punishment. Hobert knew that what the filmmakers were doing was wrong and although he had an aggressive way of dealing with it, brought attention the how bad the occurring issue was. While some may still believe Barret’s connection to the town led to a bias portrayal, Barret gives multiple angles to every story and did a respectable job at explaining the many varying sides of this one. Barret was able to capture this aspect in her film because she leaves us to question what the responsibilities of anyone who takes images of others and puts them to their own uses are.

Definition and Examples of Overwriting

Definition and Examples of Overwriting Overwriting is a wordy writing style characterized by excessive detail, needless repetition, overwrought figures of speech, and/or convoluted sentence structures. For writers striving for color, advises author and editor Sol Stein, try, fly, experiment, but if it shows strain, if it isnt accurate, cut it (Stein on Writing, 1995). Examples and Observations Overwriting is the failure to make choices. . . . Linguistic bric-a-brac is literatures Elvis on velvet.(Paula LaRocque, Championship Writing: 50 Ways to Improve Your Writing. Marion Street, 2000)[Andrew] Davidsons approach is scattergun: for every lovely image (the unholy yoga of his crash), there is a horrible, almost parodic piece of overwriting (a cheese strand dangled from her mouth to the edge of her nipple, and I wanted to rappel it like a mozzarella commando).(James Smart, The Gargoyle. The Guardian, September 27, 2008)Even Great Writers Can OverwriteNote that some critics deeply admire the following passages by John Updike and Joan Didion. With uncommon perception, says Thomas L. Martin, Updike offers the beauty of these several figures which, lined up, converge in a significatory pattern as do these dropsin a single figurative mosaic (Poiesis and Possible Worlds, 2004). Likewise, the excerpt from On Self-Respect, one of Didions best-known essays, is frequently quoted approv ingly. Other readers, however, argue that Updikes images and Didions figurative comparisons are self-conscious and distractingin a word, overwritten. Decide for yourselves.- It was a window enchanted by the rarity with which I looked from it. Its panes were strewn with drops that as if by amoebic decision would abruptly merge and break and jerkily run downward, and the window screen, like a sampler half-stitched, or a crossword puzzle invisibly solved, was inlaid erratically with minute, translucent tesserae of rain.(John Updike, Of the Farm, 1965)- Although to be driven back upon oneself is an uneasy affair at best, rather like trying to cross a border with borrowed credentials, it seems to me now the one condition necessary to the beginnings of real self-respect. Most of our platitudes notwithstanding, self-deception remains the most difficult deception. The tricks that work on others count for nothing in that very well-lit back alley where one keeps assignations with oneself: no winning smiles will do here, no prettily drawn lists of good intentions. One shuffles flashily but in vain through ones marked cardsthe kindness done for the wrong reason, the apparent triumph which involved no real effort, the seemingly heroic act into which one had been shamed.(Joan Didion, On Self-Respect. Slouching Towards Bethlehem, 1968) Weltys WordinessSometimes writers get so excited about specificity and description that they begin to confuse them with mere wordiness. This is called overwriting and is a common early malady in apprentice writers. . . .Heres one of Eudora Weltys early first sentences: Monsieur Boule inserted a delicate dagger in Mademoiselles left side and departed with a poised immediacy.The solution to overcoming overwriting . . . is simply to exercise restraint and to remember the notion of immediacy. Weltys sentence, short of its too-fancy verbs and its excess of adjectives, might simply have read, Monsieur Boule stabbed Mademoiselle with a dagger and left the room in a hurry.(Julie Checkoway, Creating Fiction: Instruction and Insights From Teachers of the Associated Writing Programs. Writers Digest Books, 2001)Daniel Harris on OverwritingEven as my prose congealed into epic similes that grew more and more outlandish, I displayed absolute intolerance for the overwriting of others whose prose all owed me to study my own shortcomings at several removes, from a vantage point far above the vendetta I was waging as the self-appointed hatchet man of minority fiction. Often I was so blind to my tendency to write purple prose that I overwrote in the very act of criticizing overwriting, as . . . when I praised Patricia Highsmith, who, unlike other American writers, was so committed to telling her story that she never had any time to single out something for its own sake, to pluck it up from its context, and pet it from head to toe with long, voluptuous strokes of adjectives and metaphors. Far from being smug about my skills as a writer, I was bitterly frustrated, divided between my need to entertain my audience and my abhorrence of the prose that resulted from my acrobatic efforts to maintain my readers interest.(Daniel Harris, A Memoir Of No One In Particular. Basic Books, 2002) Do Not OverwriteRich, ornate prose is hard to digest, generally unwholesome, and sometimes nauseating. If the sickly sweet word, the overblown phrase are a writers natural form of expression, as is sometimes the case, he will have to compensate for it by a show of vigor, and by writing something as meritorious as the Song of Songs, which is Solomons.(William Strunk, Jr. and E.B. White, The Elements of Style, 3rd ed. Macmillan, 1979)

Procurement - Glasgow Essay Example | Topics and Well Written Essays - 750 words

Procurement - Glasgow - Essay Example cause all quality benchmarks were identified and attended by establishing a code of business conduct; for human resource management a rating of 4-very good is given, as the dewatering procedure based on human resource was successfully undertaken by the construction contractor; for communication management a rating of 5-excellent is given because of strong communication among team members; for risk management a rating of 3-good is given, as technical risks were identified and analysed, and for integration management a rating of 3-good is given based on the evaluation of the project management overall (Anbari, 2006). For procurement management US$12 million in funds were allocated by the Glasgow Science Center for the tower project. Due to receiving of funds in the account of Glasgow Science Center from different sources, it seems that arranging the funds could have been a cause of delay in the project completion. Some of the funding sources included sale of National Lottery tickets and budgetary distribution received from the European Union. The problems pertaining to procurement management emerged due to wrong timing of allocation of funds – at the time of the designing of the tower project without comprehending the overall total costs. It could have been a major blunder causing delay in the completion of the tower project. One can argue that at the initial phase total spending cannot be derived but designing part of the project is not the right platform to estimate its cost until detailed study on the required funds is made keeping in mind the rising expenses according to the project d eadline for procurement purpose. So a rating of 1-very poor is given on this count (Anbari, 2006). Major strengths for all project management areas other than procurement management lied in time management by tightening the loose ends of the construction schedule. Had there been a review of the funding after the designing to chalk out the cost, there would have emerged a point