20 Persuasive Essay Topics on the Social Aspect of Sports

20 Persuasive Essay Topics on the Social Aspect of Sports It doesn’t matter how good you write, if you choose a bad topic you will find it difficult to leave a mark. Without an appropriate topic, it’s very difficult to even start writing. We already provided you with valuable information in our 10 facts for a persuasive essay on sports as a social institution guide. In this second guide, we’ve collected 20 sports persuasive essay topics so you can start writing them right away. Furthermore, we’ve also included a persuasive sample essay on one of the 20 topics, which will serve well to assist you. We highly recommend that you thoroughly read our third guide which is the perfect manual for writing a persuasive essay. It eases you into writing a better and more precise persuasive essay that is not only compelling to the eyes of the reader, but also a piece that comes off as professional and elegant too. With that said, here are 20 sports topics on social aspect: How Sports is Reshaping Global Politics Effects of Sports on Global Culture Sports’ Role as a Social Institution How Sports is Making a Difference in Intercultural Relations Sports as an Instrument to Unite People Around the World Sports A Powerful Tool to Foster Peace and Mutual Understanding How Sport is Used as Means of Power and Development Influence of Sports on People’s Lives How Sports Have Changed Our Culture Role of Sports in Ancient Civilizations Correlation of Sports with Culture and Religion Why Sports is a Necessity for People Reasons Behind the Creation of Sports Relation of Sports with Other Social Institutions How Sports Influence Social and Economic Status of an Individual Sports’ Influence on Political Identities How Sports have Promoted Thousands of Players Worldwide Sports and The Reason it Is a Part of Everyone’s Lives Global Revenue of Sports and How it Affects Economic Systems Sports and its Influence on Media and Television You’ll find plenty of information on these topics, but still, we’ve included 7 references from where we collected the topics, just so you know. To make things easier, we’ve written a sample persuasive essay on one of the topics above. Sample Persuasive Essay: Sports and Its Influence on Media and Television Ever since sports became a part of media and television series, it’s become very close to a convergence. Through new digital technologies, sports and entertainment industries have risen to a challenge where they are able to change and shape the way we spend our leisure time and entertain ourselves. Even though economic times have recently been troubled, sports continued to thrive and become more popular than ever. However, lower tier events find it difficult to get the attention they need – they have to work a lot harder than major events to achieve their desired viewership. Since we are seeing a major breakthrough in media and a remarkable competition between entertainment industries, sports have focused more on providing value for money by delivering added entertainment segments and more. Sports have also been used to attract viewers into watching lead-out programs that are not as popular as they aim to be. For example, one of the most watched programs in American television history was the 2011 Super Bowl; it gave 27 million viewers to Glee, the lead-out program had almost doubled its usual view score. Through social media channels, sports have continued to offer entertaining and personalized opportunities to their fans by creating a two-way communication. It allows fans to get personal with sports protagonists, personalities and athletes and on the other hand, enables sponsors to embed their brand and have an understanding of how fans perceive their brand. It’s a great way to provide and manage the quality and value of convergence between sports and entertainment industries. Through the use of internet media, television advertising and improved economic conditions, entertainment industries have increased the global revenue of sports in 2015 and in the future, pay-TV penetration will be the leading driver to boost revenue as most of the sports programs are migrating to pay-TV platforms. The convergence of sports and media has attracted more viewers than they ever did alone. Sports have been a dominant social institution to influence, inspire and attract different aspect of identities and individuals. This convergence has not only led to billions of revenue in the United States alone, but it has also brought different nations and cultures to a big intercultural unification. Through the media, sports have become a leading social institution and serve as a platform for debate, gossip, reviews, scandals, feats and more. This covers it! You are on your way to writing a compelling and ideal persuasive essay on sports as a social institution. Be sure to follow our third and final writer’s guide for a persuasive essay on sports as a social institution, which will greatly help in writing a clear and concise essay that persuades your audience to agree with your point of view. References: Hardin, M., Greer, J. D. (2009). The influence of gender-role socialization, media use and sports participation on perceptions of gender-appropriate sports. Journal of Sport Behavior, 32(2), 207. Horne, J. (2006). Sport in consumer culture.Sport in consumer culture. Palgrave Macmillan. Jhally, S. (1989). Cultural studies and the sports/media complex. Media, sports, and society, 70-93. Coakley, J. J. (1997). Sport in society: issues controversies.Sport in society: issues controversies.. McGraw-Hill Inc. FREY, JH; EITZEN, DS; 1991 â€Å"Sport and Society – Annual Review of Sociology† Volume 17, Pages 503-522 Annual Reviews Inc. Coakley, J. J. (1997). Sport in society: issues controversies.Sport in society: issues controversies.. McGraw-Hill Inc.   YÄ ±lmaz Kaplan, Demet Tekinay, Dr. Alkan Ugurlu; 2013 â€Å"Social Status of Sport: Sport as a Social Event, Phenomenon and Institution† International Journal of Science, Culture and Sports. iscsjournal.com/Makaleler/588422276_8ugurlu.pdf

The Usual Suspects essays

The Usual Suspects essays The movie begins with a ship believed to have $91 million worth of drug money blowing up on a San Pedro pier ending up with 27 dead bodies. Miraculously there were two survivors, a severely burned and very scared Hungarian terrorist and Roger "Verbal" Kint (Kevin Spacey), a crippled con-man. Verbal is brought in to the police station for interrogation. He starts to tell how he got there and it all begins 6 weeks earlier when he and four other criminals are brought in for a line-up concerning a hijacked truck loaded with gun parts. The police don't have much evidence but the five are held together in the same cell for one night. They don't know each other, the only thing they have in common is that they are all suspects, and as they sit there waiting to be charged or released they all agree to make a heist together. As the story continue it becomes more and more clear that they have one more thing in common...Keyzer Soze, a name that brings fear and terror even to the most cold bloode d criminal. The only one believed to be able to identify Keyzer Soze is the burned hospitalized Hungarian terrorist. This is so far my all-time favorite movie. Kevin Spacey is just such a splendid actor and the character he plays in The Usual Suspects fits him just like a favorite pair of old slippers. The other actors do their parts really good too of course (Gabriel Byrne, Stephen Baldwin, Kevin Pollak, Benicio Del Toro, Chazz Palminteri). This is a movie that can make people not biting their nails start doing it, so if you haven't seen this masterpiece yet do it now! ...

Generating Theory from Practice nursing as disipline Essay

Generating Theory from Practice nursing as disipline - Essay Example Therefore, a scientific and philosophical paradigm of nursing practice is presented further on, representing previous and modern approaches to nursing practice. The outline of the paper is the following: A. Introduction B. General discussion 1) What is nursing? 2) Scientific paradigms in nursing; 3) Reflective practice in nursing; 4) The role of theory in nursing practice; 5) A correlation between theory and practice in nursing; 6) Reflective practice as experience application; C. Conclusion What is nursing? It has been often claimed that nursing is a practical human science. The meaning of the word â€Å"practical† should be better interpreted. Further consideration about â€Å"practical† aspect of nursing is correlated with the study conducted by Bishop and Schudder (1990). These scientists underlined that â€Å"practical† meaning of nursing implies a constant acquisition of required knowledge by nurses. In spite of the majority of works considering nursing as a practical aspect, a theoretical aspect of nursing is also worth being considered. We tent more to the works by Jean Watson (1985), Newman (1986) and others who correlated nursing with science. Philosophical background of nursing was shaped under the influence of phenomenology and such philosophers as Heidegger, Dilthey and Foucault. In order nursing could be positioned as a scientific field, it is relevant for nurses to enrich their philosophical and intellectual background and develop â€Å"various models of thinking† (Munhall 1992, p. 371). Currently, there is a need to develop knowledge among nurses. On the one hand, knowledge should be generated in the process of practicing, but on the other hand knowledge should be viewed as a temporary phenomenon. In the course of time knowledge is being developed under the influence of external factors. Thus, knowledge gaining in practice should be made in dynamics and it requires a personal development and self-perfection of a nurse . Generally, nursing is usually correlated with the field of human science. Nursing practice has been developed under the influence of current scientific tendencies, and is currently being considered as a complex knowledge. Nurses meet complex situations and it is on their behalf to solve these problems. Experts have introduced a new term of â€Å"intuition† in nursing. Moreover, nursing knowledge development would be considered on the background of reflective practice. Scientific paradigms in nursing Further on, it is necessary to consider possible paradigms involved in nursing learning. The most widely applied paradigms are the following: â€Å"positivist, post-positivist, interpretive and critical theory research paradigms† (Long and Johnson 2000, p. 459). Feminist philosophy is also applied in nursing knowledge development. All these paradigms and approaches are directed on imputation a status of a scientific and professional nature to nursing. With this respect, s ome writers would argue that it is thus necessary to introduce qualitative researches and terminology of positivist research into this field, because â€Å"there is nothing to be gained from the use of alternative terms which, on analysis, often prove to be identical to the traditional terms of reliability and validity† (Long & Johnson 2000, p. 30). For nurses, as well for other researchers, it is necessary to achieve positive research results in case their research strategies are valid.

Stigma and acceptance of disabled people in the workplace in Trinidad Essay

Stigma and acceptance of disabled people in the workplace in Trinidad and Tobago - Essay Example I'll formulate such research questions which help me to lead exploring the reality of the problem and if so, to analyze the measurements taken by the authorities against this issue. The questions will be, Since it is highly necessary to gather accurate information for giving an ample scope to my research problem, I'll have to collect the data from secondary sources like the periodicals, Journals, publications etc. which enumerate accurate information and I will choose best of them. Further it will help me to assess the magnitude of the research problem in hand. By resorting to all these data I will formulate answer to the potential question of the reason of disabled persons in hidden population. I consider the publications of various government autonomous bodies like population and census reports on disabled persons in Trinidad and Tobago, US commission report on UN Convention on the Human Rights of People with disabilities 1. which are the best sources to collect more data related to this hypothesis. And it will help me to analyze the statistical data to implement the main hypothesis.***************************** Chapter 2

Advanced Managerial Accounting Report Essay Example | Topics and Well Written Essays - 250 words - 4

Advanced Managerial Accounting Report - Essay Example Both articles illustrate the advantages associated with using target costing. The project phases of the M-Class project were concept phase, risk and opportunities, project realization, goal oriented, and production phase. At Mercedes Benz the usage of target costing was first brought to the company by the engineering staff, not the accountants. A company that was mentioned in article 8.1 was Olympus. This company made the change from cost targets to target costing. At Mercedes Benz target costing was a logical choice because the company was designing the product from scratch and at the same time it was introducing a new production facility. To be successful with target costing companies have to consider a variety of factors including price led costing, customer orientation, focus on product and process design, cross functional teams, life cycle cost reductions, and value chain

Auteur Theory and Jean Luc Goddard’s Work

Auteur Theory and Jean Luc Goddard’s Work Introduction The word â€Å"auteur† simply means author; however the auteur theory as devised by Andrew Sarris indicates a manner of reading and appraisal of films by examining the imprint of the author of the work, generally the director. Sarris uses this theory to rank the work of directors on the basis of three separate criteria: (a) technical competence (b) stylistic identity and (c) the communicability of their worldview, and on this basis, Sarris examines the work of directors and estimates their worth.(Wells and Hakanen, 1997:313). Keller points out that the auteur theory or la politique des auteurs may be summarized as the â€Å"acknowledgement of the director as the primary and shaping force behind any film.† (Keller 1930). The term, politque des auteurs was coined by Francois Truffaut, who realized that American Directors often worked within strictly circumscribed parameters in reference to the kinds of films and the scripts they could direct, since these were often predetermined and allowed the directors little room to experiment with their own ideas. Yet, despite these restrictions, some directors such as Hitchcock were able to achieve a personal style that was uniquely their own. The role of the director is to coordinate all the elements of production and its various stages, which ultimately affects the quality of the final product. The notion of the Director being the true author of a film first emerged through the views of Andrew Sarris, who offered the view that over the course of preparation of several films, a director may reveal certain recurring characteristics of styles or themes, which are like his or her personal signature or stamp upon the film, identifying it unmistakably as their product. In particular, where some directors are concerned, some recurring themes may occur in all their works, or their work may demonstrate a particular world view or personal vision that becomes evident through their work. The auteur theory is especially relevant and important, as demonstrated through the work of Directors such as Jean Luc Goddard, because they bear the unmistakable personal imprint of the author, despite the plethora of external market and commodity pressures that may fashion the final products. The objective of this study is to examine the works of French Director Jean Luc Goddard from the perspective of the auteur theory, in order to discern the unique thread that underlies this director’s work. Through an examination of four films, Une femme est une femme, Vivre Sa Vie, Le Mepris and a bout de soufflà ©, the unique elements in Godard’s films which set him apart from other directors are identified. According to MacCabe (2003), Godard is one of the most important European artists of the last 50 years and the most important French poet of the twentieth century, because of the intensity of this extraordinary man’s commitment to cinema. Godard’s films demonstrate innovation and evolution, presenting cinematic techniques that have evolved through several different aesthetic forms. As Keller (1930) points out, Godard’s films have passed through various stages that have deviated from traditional Hollywood reference points and demonstrating several different forms of experimentation that reflect his own view of life and the events that transpire within it. For example, Godard’s choice of black and white, his unabashed transmission of blatantly political views in his films and his use of a film making style that incorporates several different elements such as â€Å"narrative cadenzas, historical scrutiny, visual poetry, literary citation†, yet overall containing these within a dominant frame of contemplation. Keller (1930) also corroborates the views of MacCabe (2003) that Godard made films of great beauty and complexity, which only evolved over time into greater and more complex works of art with the passage of time. Cinematic technique in Godard’s films Godard’s films in effect are a systematic reflection on the notion of reflexivity in cinema. A work of art such as a film can demonstrate a distance from reality; it can be one in which the work appears to turn back and speak about itself. It heightens the sense in the viewer that what is being viewed is not reality itself, but that there is a reality that exists beyond what is playing out on the screen. In most of his films, Godard is able to establish a clear distinction between the action and engagement as portrayed through the events of the film as opposed to inaction or disengagement from the film, which allows the process of meditating about the events (Keller 1930). The reflexivity inherent in Godard’s work is one of the recurring characteristics that surfaces again and again in his films. He repeatedly uses alternative frames of reference to present the narration in his films. The film Vivre Sa Vie is about a woman Anna who was much loved, yet Godard creates a cinematic portrait of this woman through means other than the direct visual image; he relies upon the subjective experience that a viewer will gain about the character that is the subject of the film. He uses interviews, chapter headings, letter writing, philosophical conversations as well as reading aloud from several texts, all of which form the subtext from which the viewer derives a mental picture of the woman the film is about. Godard pieces together all these various disparate fragments together like a collage in order to derive an image of unity, a mental picture that will be different in each viewer’s mind depending upon their individual perceptions. For example, at the beginning of the film, as the credits play out, the profile of the character Nana appears on the screen; yet the audience is not allowed to see this woman clearly because her face is in profile and she appears in a half hit, shadowed shot which renders facial clarity difficult. A quote from Montague offers a referential context, suggesting the rich subtext that is to play out during the film. The character is shot from behind, and the camera pans for a quick moment to snatch a furtive glimpse of her in the mirror; yet this glimpse is almost like an intrusion and the camera moves away quickly as if it has engaged in the forbidden act of stealing her image. This technique recurs throughout the film; the experience of the viewer of the character of Nana is through the referential frame of others, never by viewing the character directly. The films assumes the air of an almost-documentary; the discourse creates the subjective impression of the character which the audience will gather based upon the brief glimpses and information it receives about her; information that is presented like a record of events in a documentary. The referential frame is evident as her emotional reaction to Carl Dreyer’s La passion de Jeanne d’Arc and her identification with the protagonist is discussed, Godard appears to be injecting historical realities side by side with the narration about Nana to further accentuate the impression of a documentary and thus reality. The end of the film shows Nana standing with her head and shoulders against a wall, framed against a photograph, while her husband reads out aloud a poem by Poe titled â€Å" The Oval Portrait†, which is the story of a man’s obsession with his wife. The entire story progresses as a painting of Nana is in process, until at the end of the film, the painter draws back and the subject of his painting – Nana – is dead. In this way, Godard not only highlights the dangers of an obsessive love; he challenges the audience to think about the female protagonist in a manner that is different from the normal filmic view. He distances the protagonist from the viewer and allows a more subjective experience to be gained, which will be different in the case of each viewer. The apparent reality of the character as presented by her husband is further challenged at the end of the film as the audience notes in shock that she is dead. The filmic technique of reflexivity may also be noted in Godard’s film Le Mepris, in which the director sought to present the appearance of a film-within-a-film. For instance, Godard deviates from the standard depiction of credits on the screen, rather the credits are spoken and Godard himself appears later in two scenes of the film dealing with the Odyssey. Was it Godard himself who spoke the credits since the voices are so similar? (Marie 1990:82). The viewer never knows, however it serves to establish a link in the viewer’s mind between one section of the film dealing with the Odyssey films and the other which deals with the non-Odyssey aspects.(Leutrat 1989:71). The cinematic technique of a film occurring within a film is heightened by a scene where Godard’s cameraman is seen helming another camera that is moving towards the camera which is doing the actual filming. The impression thus created in the viewer’s mind is one of a simultaneous presence by Godard and his cameraman both on screen and off screen. The referential function is also evident in the film a bout de soufflà ©. There is a series of filmic action and events that occur, yet at the same time, there is also a parallel set of events depicted that speak about the film and appear to offer an outside view that is distinct from the events taking place within the film. For example, in one of the shots, the character Belmondo in the film passes by a movie poster, which reads† to live dangerously† which is in reference to Aidrich’s W Seconds to Hell (Andrew 1987:148). A few scenes later, the filmic action occurs against the background of another film poster; this time one of Humphrey Bogart in the film â€Å"The Harder they fall†. There is a suggestion that the character is moving in dangerous terrain and the posters in the background serve in the nature of a comment occurring off screen, disconnected from the events of the film and yet offering an observation on it. There are more such references from films and theatre that occur in the film; for example as the film moves into its concluding segment, the character of J.P. Melville in the film makes an oral reference to Cocteau’s testament d’Orphee. Subsequently, the character of Jean Seberg runs away from a detective inside a theater that is playing Preminger’s Whirlpool; she is able to successfully escape the detective. After this, she runs with Belmondo into yet another theatre and in this instance, it is Boetticher’s Westbound . The association of movie action with posters and scenes from films and theatre which symbolize certain kinds of events results in a degree of unreality being accorded to the final moments of Godard’s film itself. For example, when the death of a character occurs at the end of the film, the audience tends to view it through the referential frame of the movies and posters that have been viewed, so that it is not tragedy, pity and fear that is inspired in the viewer but rather a feeling of filmic inevitability, as if the character has been absorbed into the referential frame of filmic reality and immortality rather than the tragic reality that is playing out on screen. Godard successfully employs this technique of standing back from the film itself and offering a narration, observation or comment on the film that is outside the main frame of reference of the film. This is one of the recurring characteristics in all his films and is line with the Brechtian theory of alienation. Brecht’s assumptions were that we as human beings, are isolated from the world around us through the manner of language we use for instance, which is not in line with our actual experiences of the world but in effect, proceeds along a different path, objectifying the world rather than allowing it to develop out of our subjective experiences. This tends to isolate us in an area where our objective knowledge and manner of expression in an objective world is in sharp contrast to the subjective experiences we may gain. Brecht characterizes this as follows: â€Å"Alienation is nothing but a representation, that is ‘making noticeable’’ of estrangement. (Ludwig 1972:20). Brecht suggests that the only way by which humans can disassociate themselves from this process of alienation is to withdraw and separate ourselves from this alienated experience in order to discover a more subjective way and unspoilt way to experience things and reflect upon them. Godard is able to accomplish this feat of withdrawal from the so called reality of the film and the objective use of language in order to stand back and assess experiences in a more subjective manner, relying more upon the true response of the senses to the product rather than the kind of response that man has been conditioned to give based upon his subjective training in the world. Godard’s career is characterized by the exploration of realism and film style. â€Å"For Godard, there is not reality and then the camera – there is reality seized at this moment and in this way by the camera† (MacCabe, 2003:79). In discussing his interest in the depiction of reality as it actually is experienced, rather than a fictional image conjured up for a viewer, Godard himself explains that he enjoys visiting a theme, place or subject after others have lost interest in it and the drama associated with it has faded, in order to capture the reality of the event as it exists (Bonnaud, 2005). He points out how images on television are manipulated, thereby contradicting the notion that the facts speak for themselves as depicted on the camera. One example he cites is the depiction by television cameras of the exterior or the Credit Lyonnais bank while providing a voice over narration of the scandals that had brewed within those walls. According to Godard, such images are meaningless because they portray nothing of the reality of events at all (Bonnard, 2005). In most of his films, the locations in Godard’s films are driveways, hotel rooms and large stretches of barren fields, which provides an effective and realistic backdrop that reflects the grim realities of his characters’ lives, providing them the space to meditate and contemplate on their transient mortality (Dixon, 1998). His films are interwoven with references to classical literature, as in Odyssey in Le Mepris and La Passion de Jeanne du Arc, the works of Edgar Allen Poe and Montague, yet all these provide the viewer the opportunity to reflect upon the deeper philosophical truths that underlie an apparent cinematic reality. In using such techniques, Godard appears to be questioning the reality presented by the camera. On the one hand, the events in Vivre sa Vie present the subjective portrait of a woman much loved; yet this love also kills her in the end. Godard substantiates Brecht’s assertion that humans are saddled with an outward reality that does not correspond to their subjective experiences and makes the viewer question whether the camera is really depicting the truth? The reflexivity inherent in Godard’s technique forces and presents a constant process of meditation and reflection, not only in the characters in the films but also in the viewer. Godard’s films thus appears to reflect his persistent quest for and his insatiable curiosity about reality, is it really as it seems or is there a deeper dimension that underlies what is visible on the surface? Godard’s films thus bear the unique stamp of his own way of looking at life, the manner in which he questions the reality of what is visible, his unwillingness to accept things as reality merely because others say it is so. Godard is of the view that the digital medium offers less depth precisely because it does not permit the kind of juxtaposition of reality and reflexivity which is possible with the film medium (Bonnard, 2005). The use of sound in Godard’s films Godard demonstrates a great sensitivity to music and the impact of sounds in creating a cinematic experience, as depicted especially in his film â€Å"Nouvelle†, where he used music composed by Manfred Eicher (www.ecmrecords.com). In conveying his impressions about Godard’s film Vivre Sa Vie released in 1962, Eicher states that the film reveals the director’s extraordinary levels of sensitivity to image, sound and rhythm, so that it is capable of moving the viewer on a different level when the his/her eyes are closed. (www.ecmrecords.com). A blind woman, Claire Bartoli writes about an internal cinema fuelled by the soundtrack of the film, that she must concentrate on to experience the film because she cannot see the images that go along with them. In an essay about his film Nouvelle Vague, she writes: Godard, with large cuts of the scissors, divides the material into fragments, producing sound miniatures, as pure elements (www.ecmrecords.com). She describes how Godard is able to isolate individual sounds such as the ringing of a bell or the sound of waves and rediscovers them within the context of the story that is taking place, so that it is the sound itself that fuels the emotional experience which characterizes the reaction of the viewer. In his film Une femme est une femme, Godard utilizes a mixture of sounds in eclectic combinations to produce an impression that is deliberately discordant when viewed in conjunction with the reality. For example, around the middle of the film, the protagonist Angela sits in a cafà © with her boyfriend and asks him to first say something false and then say something true. Then she points out in distress that his expression ha snot changed at all irrespective of whether it was the truth or a lie that he was telling. The film in turn appears to present serious things lightly and light things seriously, deliberately deviating from reality. The story itself is about Angels wanting to have a baby which her boyfriend Emile is not prepared for, she threatens to have it with his best friend Alfred instead, he tries to call her bluff and she actually goes ahead with it only to realize that she has gone too far and has turned a serious matter into a frivolous issue. The element of frivolity and unreality is enhanced and embellished by the sound used by Godard in the film. The entire film resonates with musical bells and whistles, there are sound effects that are over-the-top, music suddenly swells in an exaggerated and ridiculous fashion and interspersed within these are literary references. The use of sound in the film is eclectic and it almost appears as if the director is having childish fun, in producing sound effects that must change swiftly, as if they must hold a child’s attention. This yet again, corroborates the reflexivity the director seeks to imprint on his viewers. This may be noted particularly in a scene at the beginning of the film for example, where there is some cool. Pop music playing in the background as the protagonist walks into a cafà ©. The viewer makes an automatic association of the image with the character of the protagonist as hip and cool. Then as she leaves the shop, the music suddenly stops and devoid of the sensory backdrop, the viewer is forced to revise his/her original impression of the cool young woman and sees her as just another ordinary woman walking out of a store. But a moment later, the music starts again, as if, now satisfied that the viewer has been forced out of his/her sensory haze, the director seeks to push the viewer back into the unreality of what is playing out on camera. Godard effectively uses sound as a vehicle to force the viewer to refrain from responding to the film with stock emotions; rather he must view the film from a perspective that is different and unique. According to Dixon (1998) Godard’s sound techniques employed in his films, whereby he layered his sound tracks with an eclectic mixture of natural sounds and classical music, with dialogues and voiceovers, which is a reflection of his vision as a film maker. Godard’s reflexivity is also evident in the soundtrack of Le Mepris, where the ancient Odyssey scenes are shot in a different kind of lighting and color and utilize different theme music, yet they are similar enough to evoke a connection between the two, which suggests that the two are linked – is the ancient day Odyssey story occurring within the context of the modern day? The musical themes of the two parallel stories are â€Å"Camille† and â€Å"The Gods†, yet the similarities in the music themes suggest similar emotional undertones in both stories. For example, the opening chord in the film is a tritone in Bb-e, which is somber and dark suggesting something ominous that could be associated with the devil. The music in itself suggests that the tone of the film will be such that there may be a tragic outcome. This impression is paralleled in the theme music of the parallel visualization, characterized mostly by the use of strings and harps in a minor chord, which in classical music is traditionally associated with seriousness, sadness and ultimate tragedy. The nature and composition of the music in le Mepris thus highlights the allusion of the modern day playing out of the Greek classical tragedies of ancient times. Godard describes how he visualized the scenes in the film dealing with Odyssey in Le Mepris as being lit in a manner that was much different from the main film, in order to give the impression of a film occurring within another film. Those particular scenes were to be photographed such that â€Å"the colours will be more brilliant, more violent, more vivid, more contrasted also in their organization.† (Godard 1985:146). This is in sharp contrast to the documentary style used in Vivre Sa Vie for instance where voice-overs and the spoken, poetic narrations provide only the backdrop to the tantalizing glimpses of the character of Nana that keep appearing throughout the film. Conclusions Godard was undoubtedly a Director whose films displayed his own unique stamp, and his striving to depict the emotional nuances of his characters through the utilization of the tools of sound, color and stylistic technique to convey a message in sub text that moved far beyond the actual events occurring in the films. The innate curiosity of the director about reality itself, his constant questioning of what is real and what lies beyond the reality that is apparent visually can be gleaned in his films. His attempts to convey a mood and aura are not incorporated directly into the main narrative but rather must be gleaned by the viewer through the subtle signs that exist in the sub text of the film. Rather than making certain visual and audible elements glaringly apparent for the viewer by using close up shots for example, Godard leaves it to the viewer to subtly discern these messages, to think about the film long after seeing it in order to grasp the significance of the elements that have been presented in the film. Through this process, Godard forces the viewer to confront a hidden reality that may exist beyond that apparent on the surface. The Brechtian alienation suggests that viewers need to revise their way of thinking and seeing things such they rely more on their own subjective experiences. This ability to instill reflexivity in the film viewing experience and force a viewer to question the reality of what he/she sees is a particular characteristic of Director Godard. His use of literature and poetry as well as filmic and theatrical allusions is targeted at promoting a reflexive experience in his viewers. His characters reflect upon life within a contextual dimension that is as rich with visual, audio and spatial clues as the cinematic material which is outwardly apparent, to present the viewer with a viewing experience that extends far beyond the visual images. The complexity and beauty of his films is enhanced by the willingness of the director to experiment with avant garde techniques and use unconventional means to convey his cinematic messages. The director uses quitotix and unusual methods to elicit this reflexivity, especially in the film Une femme est une femme for example, where the protagonist is frying an egg, the phone rings, she flips the egg high in the air, dashes to take the phone and returns just in time to catch the egg and flip it back into the pan, thereby underlying the unreality of the images being viewed. The Director’s films stimulate thought and force a viewer to interact actively with the medium, to question what is seen and what remains unseen but can be discerned below the surface through careful observation. This is why the supporting elements in Godard’s films are so important the sound, the color, the music, the visual techniques, the editing, all enhance the messages being conveyed sub textually. The auteur theory requires that an author’s work demonstrate an unmistakable stamp that identifies it and sets it apart. The alienation and distancing from the cinematic view, the reflexivity inherent in a Godard film viewing experience is one that is not found in a comparable manner in the work of other directors. The auteur theory is therefore relevant where Godard is concerned, because in effect, a director must exhibit certain recurring characteristics throughout his films, which are like his signature on the films. This is what Godard accomplished through the unique and experimental combination of light, sound , editing and style in every film, which promotes reflexivity and presents a multi faceted reality. Bibliography Andrew, Dudley, 1987: â€Å"Breathless. Jean Luc Godard, Director† London: Rutgers University Press Bonnaud, Frederic, 2005. â€Å"Occupational Hazards†, Film Comment, 41(1): 37-40. Dixon, Wheeler Winston, 1998. â€Å"For ever Godard: Notes on Godard’s For Ever Mozart†, Literature/Film Quarterly, 26(2): 82-88 ECM: Background Information†, Retrieved December 13, 2007 from: http://www.ecmrecords.com/Background/Background_1600.php Godard, Jean-Luc, 1985. â€Å"Jean-Luc Godard par Jean-Luc Godard†, Alain Bergala, à ©d. Paris: Cahiers du cinà ©ma -Editions de lEtoile. Keller, Craig, 1930. â€Å"Jean-Luc Goddard†, Retrieved December 12, 2007 from: http://www.sensesofcinema.com/contents/directors/03/godard.html MacCabe, Colin, 2003. â€Å"A portrait of the artist at Seventy†, Farrar, Strauss and Giroux Marie, Michael, 1990. â€Å"Le Mepris: jean Luc Godard:, Paris: Edition Nathan Wells, Alan and Hakanen, Ernest A, 1997. â€Å"Mass Media and society†, Ablex/Greenwood.

Graduation Speech -- Graduation Speech, Commencement Address

Someone very special in my life once told me, "Obstacles are those frightful things you see when you take your eyes off of your goals." Upon entering high school four years ago, the majority of us had one goal and only one goal in mind, graduation. Many of us have heard people say that high school is the best time of our lives, so we better enjoy it. With that in mind, we thought that the next four years were going to be a breeze and before we knew it we would be out of here. Well, that is when reality hit us ... Way back in the first few days of September in 1997, we all took our first steps onto the big campus of Conolon High School. For some of us it was exciting and exhilarating, for others it was scary and nerve wracking or even a little or very intimidating. Whatever the rush of emotions that came over us may have been, it was just the beginning. As lowly little Freshman, we had to adjust to high school life. Going from middle school to high school was a big transition whether we wanted to admit it or not. Some of us thought that the change would be easier if we got involved, so many joined athletics, leadership or a club or two; and then there were some that decided to just focus on their studies. Whichever path we decided to choose, we still had the same goal, to just fit in with everyone and start our long journey towards graduation. For our class, the class of 2006, graduation was not going to come easily. We were the class of "firsts", and it all started Freshman year. During that year we all first experienced sleep deprivation. We were not used to staying up late and then having to get up early. Then along came our Sophomore year. Our second year at Conolon introduced us to the wonderful world of rubrics. We we... ...onight is our night to shine and also our time to set new goals. After we leave tonight's ceremony a new life for us begins. It will be time for us to move on to bigger things and it will be our time to overcome more obstacles. We will move on to college, work, starting new careers and starting families. I have faith in each and everyone of you that you will make your dreams become reality. Just remember that if you stay focused on what you want, do what you want and be who you are, your accomplishments will be endless. All of the obstacles that we have encountered and come face to face with during our high school journey, just proved how determined we were to reach our goal of graduation. To add to the long list of "firsts" I would like to be one of the first people to wish Conolon's first class of the new millennium congratulations. Congratulations class of 2006!

Students will float to the mark you set

Rose's thesis states that â€Å"Students will float to the mark you set. † † Vocational education has aimed at increasing the economic opportunities of students who do not do well in our schools. Some serious programs succeed in doing that, and through exceptional teachers – like Mr. Gross in Horace's Compromise – students learn to develop hypotheses and trouble shoot, reason through a problem, and communicate effectively – the true job skills. The vocational track, however, is most often a place for those who are just not making it, a dumping ground for the disaffected.† Rose attempts to persuade his readers by showing how dysfunctional the vocational students are and how mediocre or unchallenging their studies are. He also persuades the readers by exemplifying the instructor's poor attempts to care about the quality of learning the vocational education students are receiving. His argument is that the instructors are not inventive in their teaching methods and do not work hard at education through use of their imaginations. â€Å"The teachers have no idea of how to engage the imaginations of kids who were at the bottom of the pond.† I agree with Rose's point stating that † You're defined by your school as â€Å"slow†; you're placed in a curriculum that isn't designed to liberate you but to occupy you, or, if you're lucky, train you, though the training is for work the society does not esteem.† This seems to be the norm at all schools. But, I think at all levels, be it high school or college, the instructors teaching these types of programs should be trained to use more imaginative methods of teaching the vocational level students. Obviously, these students each learn at a different pace, but their minds still need to be challenged. They should receive education that stimulates their minds so they do not lose interest. The vocational education system is used as simply as Rose put it, as a â€Å"dumping ground for the disaffected.† I also understand the point Rose made referring to the fact that if a student is trained in a mediocre way he will do nothing but turn into a mediocre student. Resulting in boredom, indifference, tuning out, ignorance, and finally a lack of job skills society deems necessary. I think Rose was correct in the comment â€Å"Champion the average.† Although that is assuming that every vocational student has the courage to rely on his/her own good sense and put the fear behind him or her. Only most of them lack the courage or self-esteem to stand up for themselves, be it only in their own mind. Moreover, many would not take themselves seriously if they did so. Students Will Float to the Mark You Set Mike Rose is a professor in the School of Education at UCLA , earned multiple awards during his career ; Distinguished Research in the Teaching of English, the American Educational Research Association's Distinguished Lectureship, UCLA’s Distinguished Teaching Award, a Guggenheim Fellowship, the Grawemeyer Award in Education, and the Commonwealth Club of California Award for Literary Excellence in Nonfiction. As a child Rose grew up in a poor family in Los Angeles, during his high school years he was placed on vocational classes on accident, by mixed up test scores from another student with the same last name. In the essay â€Å"I Just Wanna Be Average† by Mike Rose, he describes his observations with his students and teachers during his accidentally placed vocational classes, the teachers were showing no interest in teaching and his class mates were not showing any interest in their education, Rose implies in his essay â€Å"The vocational track, however, is most often a place for those who are just not making it, a dumping ground for the disaffected† (Rose 13) Rose shows how the school system has written off students who have potential, his analysis of the school system specifies multiple reasons for the failure of students that go through high school misunderstood from their difficulties learning, it showed that the students were lacking the effort to learn. In Rose’s essay he talks about one of his classmates Ken Harvey, he describes this open conversation in this classroom, the topic was about working hard and being an over achiever, when in it was Harvey’s turn to talk he answered â€Å"I wanna be average†. Ken Harvey’s â€Å"I just wanna be average† quote immediately picked up Rose’s attention! He later goes revealing how this student was gasping for air in their educational environment, as Rose Mentions in the book â€Å"No matter how bad the school, you’re going to encounter notions that don’t fit with the assumption and beliefs that you grew up with- maybe you’ll hear these dissonant notions from teachers, maybe from other students, and maybe you’ll read them† (Mike Rose 14) Since the vocational track is the dumping ground for those students who can’t make it, Harvey was discouraged because in his school he was labeled â€Å"slow†, as that could’ve lowered his morale, Harvey was rotecting himself from the pressure of school by defying himself as a regular person, and it doesn’t help that the fact that the teachers in the vocational track did nothing to help motivate the student. Rose states that ther e was hardly any who worked hard at their education, however Brother Slattery used his stern voice and his weekly quizzes to engage the imagination of those kids who were at the â€Å"bottom of the pond†. One of my academic weak points is algebraic related activity , during my Senior year I was taking a junior math class Algebra 3-4, my first period class that I would get through in the morning, me a morning person? I would show up half asleep, if I stayed awake I was zoning out. The high school that I graduated from had the block schedule system so the classes would have been two hours and thirty minutes long, I dreaded the block schedule system especially when I had Algebra, as furthermore it would feel like an eternity. I’ve spent a good 75% doing something else that would contradict my learning, doodling on my notes or socializing with the people around me. Every time we would learn a new course I tried to give my full attention to the lesson because it would almost be like a fresh start but in the end it would ended up with me not fully understanding the lesson, so a new course would come up this pattern would repeat itself, so I would get a little frustrated every time that would develop. It got to the point where the requirements of the new course would require the information from the previous course to learn it, that’s how I got stuck along with the interest to care anymore. Unfortunately that type of not caring was labeled as â€Å"Senioritis† it happens to every Senior they say, but I wasn’t going to blame it on â€Å"Senioritis† because I have experience that similar uninteresting feeling for my education before my Senior year. I can’t remember the name of my Algebra 3-4 teacher but I do remember a friend that I made there who sat next to me, his name was Adam he seemed very brilliant and strong academically but he wasn’t so good with the ladies. My algebra teacher never took the time to grade our homework, what she would do was make the student plus the person sitting next to you grade each other’s homework, she would put out the answers on her white board, as she would expect every student to grade the other students homework. Adam and I had an alliance with each other, as we took advantage of that situation, I would scratch his back and he would scratch mine by writing the correct answers down or just filling out the homework right there, sometimes I didn’t even take the time to do my homework I would let Adam fill out the paper for me. Adam continued to perfectly learn in that class he would sometimes end up with one or two mistakes in his homework, but he really wanted straight A’s, I would correct his mistakes for him as he would do the same for me. That homework grading system seemed to me as a huge flaw for her students learning, if she took the time to look at our answers, study our equations that we wrote down she could’ve traced the mistake, point it out, ask why we messed up and showed us the correct way to solve the problem I think that would’ve helped some people out. So the fourth quarter finally arrives, my Algebra 3-4 grades are on the edge of failing, my counselor advocated that I should stay after school with a tutor, which I hated the fact that I had to stay after school for more math, which the thought in my mind was â€Å"I’m not going to learn anything and just waste time†, that was quite the opposite of what was going to happened, I met a tall man with glasses always seemed full of energy, I think his name was Larry (I can’t remember names). Every day after school I would meet up with Larry in a classroom with a few other kids from every type of different math class ranging from basic math to trigonometry, Larry would sit down and help every single student one by one, he seemed like he was vey content teacher, every time Larry would sit next to me I would actually learn or understand all this gibberish that we call algebra, he would approach me with a different attitude way different compared to my Algebra teacher. Now when I think about that situation I was in, I would sit in my first period class for 2 hours and 30 minutes while having difficulties understanding, but now in my tutoring class I would only sit for 45 minutes and everything seemed clear to me. The situation that those students from Rose’s essay they’re intelligence are not limited, a bad teacher can make school such a frustrating experience student won’t learn much, understanding t a teacher’s teaching style can sometimes not w ork with the students.

Free Essays on Description Of Outside Life

I’m leaning against one of the sparse trees overlooking the open field in front of Brush Towers as three guys play Frisbee in front of me. On a hot, humid night, eating ice cream and relaxing is exactly what I like to do. My friend Erin and I were doing just that when we decided to sit and watch these guys play Frisbee. The three guys were having a really good time and getting really into the game. From down the street at Pinch Penny, music was playing. It could be heard perfectly, and all three of them were singing along to Jimmy Buffets’, â€Å"Cheeseburger in Paradise†. One of the guys there had long blonde dreadlocks tied up in a bunch. He wasn’t wearing shoes and the dried, dead grass and dirt flew up every time he stepped down. They all had Greatful Dead tie-dye shirts and long dreadlocks. One of the guys was doing back flips while throwing the Frisbee. It was amazing how he could do that; I’d never seen anyone do a back flip while tossing a Frisbee. I could tell it was getting darker when the massive park lights were turned on. I could see so much more now, including the ice cream fixed to my shirt nicely in a giant pink smear. Two of the guys were yelling at the other, telling him to throw the Frisbee really long. He began to get his stance ready, leaned back, and launched that round disc out of the field. The other two raced to catch up to it but it had already gone into the parking lot. The air was silent until the Frisbee landed, and made the biggest â€Å"Bang!† I’ve ever heard. I couldn’t see what happened but I’m sure it wasn’t good. My friend Erin and I were relaxing on a hot, humid night last week when we saw some guys throwing a Frisbee around. We had gotten ice cream and decided to go watch them throw it around for a while. I sat down under a tree in front of the open field in front of Brush Towers. The tree smelt of pine, like the pine tree found on most rear view mirrors. I... Free Essays on Description Of Outside Life Free Essays on Description Of Outside Life I’m leaning against one of the sparse trees overlooking the open field in front of Brush Towers as three guys play Frisbee in front of me. On a hot, humid night, eating ice cream and relaxing is exactly what I like to do. My friend Erin and I were doing just that when we decided to sit and watch these guys play Frisbee. The three guys were having a really good time and getting really into the game. From down the street at Pinch Penny, music was playing. It could be heard perfectly, and all three of them were singing along to Jimmy Buffets’, â€Å"Cheeseburger in Paradise†. One of the guys there had long blonde dreadlocks tied up in a bunch. He wasn’t wearing shoes and the dried, dead grass and dirt flew up every time he stepped down. They all had Greatful Dead tie-dye shirts and long dreadlocks. One of the guys was doing back flips while throwing the Frisbee. It was amazing how he could do that; I’d never seen anyone do a back flip while tossing a Frisbee. I could tell it was getting darker when the massive park lights were turned on. I could see so much more now, including the ice cream fixed to my shirt nicely in a giant pink smear. Two of the guys were yelling at the other, telling him to throw the Frisbee really long. He began to get his stance ready, leaned back, and launched that round disc out of the field. The other two raced to catch up to it but it had already gone into the parking lot. The air was silent until the Frisbee landed, and made the biggest â€Å"Bang!† I’ve ever heard. I couldn’t see what happened but I’m sure it wasn’t good. My friend Erin and I were relaxing on a hot, humid night last week when we saw some guys throwing a Frisbee around. We had gotten ice cream and decided to go watch them throw it around for a while. I sat down under a tree in front of the open field in front of Brush Towers. The tree smelt of pine, like the pine tree found on most rear view mirrors. I...

Reading 17th Century Scotland Essay

Reading 17th Century Scotland Essay Reading 17th Century Scotland Essay Reading 17th Century Scotland HY31016 26/3/2013 Source Review The church during the 17th century in Scotland had a lot more power within the country than churches do now in modern society. The general motive of the church was to set the standard of what was right and wrong in their society and how to behave as a church going person. Also, the church kind of served as a place of law, where people were sent to be disciplined if they did something against the moral conduct of the church. In the documents, there are cases of plundering, witchcraft, and adultery that in today’s society wouldn’t fit in within the rules of the church, but in this time period it falls under in the churches shadow. The first thing that really came out to me in The Annals of Banff, was the statements about the conducting of witchcraft in the town. Within the document it says that â€Å"about this time active measures were being taken against witchcraft and superstition in the district â€Å"Our Ladie Wei," near the Kirk of Ordiquhill, was a favourite spot for â€Å"ignorantes" resorting to, and thereafter kneeling about the said Kirk, but no one, so far as record bears, suffered death therefor, except one unfortunate man who was resident in that district. This was John Philp... his only offence apparently being that he was consulted and that he prescribed for the cure of simple ailments. Whether he was burned to death at the Market Cross of Banff, or on the Gallows from this are in the Records of the Meeting of the Exercise of Alford, when â€Å"James Gordoune and Janet Innes having been delated by the Sessione of Kildrumie as guiltie of adulterie, and being both fugitive together, the said Sessione upon that account having referred the matter to the meitting of the Exercise; it is ordained, in respect they could not be found whereby a personal summons might bee fixed upon them, that the said James Gordoune bee summoned from the pulpit of Kildrummie, and the said Janet Innes bee summoned from the pulpit of Towy, with in which parish she had her residence, to appear befor the next meitting.†2 What is interesting about these records is that next to a lot of the statements is the word ‘discipline.’ And for the ones that say discipline, they keep track if the people are doing what they were sentenced to do after they received their punishment. For example, for the case used above, although they didn’t receive a punishment because they were not there, the church still keeps track of their case and updates it, and for the two that committed adultery â€Å"no report anent James Gordoune and Janet Innes, the minister of Towy being necessarily absent. It is reported anent Janet Smith, that she is continuing in her publick professione of repentance.†3 And even after this update it goes on to another one later that states â€Å"anent James Gordoune and Janet Innes, the minister of Towy reported, that they had not only not entered to the professione of repentance, but that also they were continuing their sinne, and travelling through the country in company together. Whereupon it is ordained that the minister of Kildrummie proceed in processe against them, and that it be intimated from the severall pulpits within oar precinct, that none receipt them in company together, under pain of Church censure.†4 So it is easy to see

The impact of certain forms of technology on reading skills or reading Essay

The impact of certain forms of technology on reading skills or reading habits - Essay Example However, technological based reading has led to an increase in the reading of news, views, sexual content, general information, selected fields but has decreased the reading of literature. Electronic sources are now available for the students like iPods and kindle (of Amazon) that has greatly influenced the reading skills and habits of the students and in fact 34 percent of the students have access to their own iPhone. Today, majority of the schools increasingly have the access to digital media. With such kind of availability of technology, students can readily access the reading materials in a digital format. The paper discusses the impact of the reading skills and habits with the introduction of technology. Reading is one of the oldest habits with the passion of the greatest personalities of all the time. The emergence of technology has led to some extraordinary change in the reading culture and habits of the students. Imagining today’s educational system without technology can be difficult for the students and the teachers. A learning environment without interactive white boards, laptops, TVs and electronic devices would be difficult to identify as a conducive learning environment (Datta & Macdonald-Ross, 2002). Technology has made its existence in the reading behavior of the students. Although printed media still commands significant sales, reading is no longer confined to print reading as the scope of reading has evolved drastically in the recent days due to evolution of the internet to include web pages, e-papers, e-journals, websites, chat rooms, blogs, discussion boards, e-mails and other communication documents. This has made reading and access to information easier and f aster as a student can access information from the internet at their convenience (Gambrell, 2005). Reading habits can be determined by the number of minutes per day that are spent when

Transmission Electron Microscopy Coursework Example | Topics and Well Written Essays - 3000 words

Transmission Electron Microscopy - Coursework Example With the support of ray, diagrams explain how the images were obtained. Your explanation must include comments about the location and use of the objective and selected area apertures. A TEM consists of condenser lenses to focus the electron beam on the specimen, an objective lens to form diffraction in the BFP (Back focal plane) and the image in the image plane, and other lenses to magnify the image or the diffraction pattern on the screen. In order to obtain images in TEM, we either focus on the central spot (direct beam), or on the scattered electrons (diffracted beam). This is done by inserting an aperture (selected area aperture) into the BFP of the objective lens followed by selecting the appropriate beam. Bright field image (Figure 1) The given micrograph depicts a dark MgO crystal on a light and bright background. The topography on the face of the crystal is very clear. Such an image is called a bright field image and has a very high contrast. ...The parts of the crystal in Br agg orientation appear dark, and the amorphous parts of the crystal are bright. The objective diaphragm is adjusted in such a way that an aperture appears in the back focal plane of the objective lens, allowing only the direct beam to enter and blocking the diffracted beam. The objective aperture, when inserted, controls the collection angle. The placement of the SAD (selected area aperture) is critical as it should be adjusted to obtain only the direct beam in this case. Darkfield image (Figure 2) The micrograph in figure two depicts a bright MgO crystal on a dark background. Such an image is obtained by selecting only the scattered electrons using a selected area aperture, enabling them to reach the image plane. The electrons that are not in the direct beam are selected to form a dark field image. The objective aperture is moved sideways to select the un-scattered electrons. This method is of high utility in case of observing certain specific crystallographic orientations of the s pecimen. The dark field image can also be obtained through another method, called centered dark field operation. In this case, the objective aperture is not shifted and the primary/direct beam is used instead. "The beam is tilted in order to allow only the scattered/diffracted electrons to go through the objective aperture (William and Carter 2009). Selected area diffraction pattern SAED (Figure 7) The given micrograph clearly depicts the symmetry of the lattice of MgO crystal through a selected area diffraction pattern. Selected area diffraction patterns are obtained by inserting the SAD aperture into the image plane of the objective lens and aperture on the optic axis in the middle of the viewing screen (William and Carter 2009).