Response paper to peter brooks' reading for the plot, and one of Essay

Response paper to peter brooks' reading for the plot, and one of freud's most famous - Essay Example on the "temporal sequence and progression" (xi) of a narrative through the plot, which spurs the movement in the narrative and makes the readers continue to the next page. Brooks gave importance to the middle of the narrative, which instead of being boring and tedious to read becomes â€Å"a highly charged field of force† (xiv) through the use of hermeneutic and proairetic codes to generate suspense, excitement, and a sense of mystery. He further went on to stress the significance of the use of metaphors and metonymy as figures of speech that can make the narrative more lively and creative. Peter Brooks’ technique of giving importance to the plot and its twists through the manipulation of the hermeneutic and proairetic codes is a good way of making a narrative more exciting. The hermeneutic code’s â€Å"function [it] is to articulate in various ways a question, its response, and the variety of chance events which can either formulate the question or delay its answer; or even, constitute an enigma and lead to its solution† (Allen 86) while the proairetic code refers to â€Å"the other major structuring principle that builds interest or suspense on the part of a reader or viewer† (Felluga). Brooks further states that the plot is â€Å"an overcoding of the proairetic by the hermeneutic, the latter structuring the discrete elements of the former into larger interpretive wholes, working out their play of meaning and significance† (18). In other words, the way certain events and actions remain unexplained exudes a sense of mystery and suspe nse that make the readers want to read more until the plot is resolved at the end. Instead of focusing on the structure of narratives, like Barthes did, Brooks found a way to concentrate on how to make the plot and the middle part of the book exciting. In short, the whole narrative is made more compelling and gripping that will certainly have the readers hooked. Brooks diverted the focal point from the structure of the narrative to

Global Marketing Research Paper Example | Topics and Well Written Essays - 500 words

Global Marketing - Research Paper Example The disposable of waste in the two nations varies hence the preference of the diapers may vary between America and Brazil. US citizens are sensitive to a green environment compared to the Brazilians. Additionally, the market of disposable diapers in Brazil is not vibrant like the US disposable diaper market. The promotion of diapers made in the US rate responsible for the high portion of per capita income spent on the disposable diapers. The US is also sensitive to the welfare of children hence the need for good care for all children. Conversely, the Brazilians are not sensitive to the plight of their children with regard to hygiene and sanitation. The increase in the birth rate in America is another factor, which makes the American market for disposable diapers vibrant. For instance, the 4.5M children are born in the US on an annual basis. This implies that the disposable diaper market must meet the needs of the growing population of children in the US. Additionally, more than 3M people turn 65 years old on annual basis. This implies that the demand for disposable for children and old aged adults is high in the American population. Disposable diapers pricing should not be left to the local managers of Brazil because the market for disposable diapers in Brazil is small. Additionally, of the product should be left to the head office to ensure consistency and compliance to market standards. Pricing of the disposable diapers should coincide with the global trend of the product demand and supply (Nonwovens markets and fiber structures report, 2009). Therefore, the move of leaving pricing to the local managers is not prudent. Moreover, the local cartels are likely to take advantage of decentralization of pricing, which will negatively affect the customer disposable diaper loyalty. The other reason for adoption of global pricing of the disposable diapers is the need for

Relationship Between Gender And Crime

Relationship Between Gender And Crime Its often thought that when females commit a crime they are often given a lesser sentence than if they were a male and that more males commit crimes than compared to females. It is also often thought by females that feminists if tried by a male may get longer than they should because of what they stand for. This can also apply when the situation is turned around where the male is standing up for what they believe in. Most people believe that the only reason females commit a crime is to provide for her family and make sure her children are brought up in a stable environment. On the other hand females are portrayed are the people that are more likely to shoplift and other crime that are unlikely to be noticed. The work carried out on the area of females and crime is very limited as there are fewer reports. 1. Gender and Patterns of crime. Carol Smart has given a number of reasons as to why she thinks crime rates for females are neglected. Carol Smart indicates that because females commit so few crimes they as not seen as much of a threat as males are because they commit more serious crimes therefore females are considered to be less of a threat to society. She also says that in both sociology and criminology professions there are more males employed than women therefore more studies have been on a males state of mind for crime instead of womens state of mind. Also criminology is stimulated by a desire to control, behaviour that is regarded as challenging. Females have been seen as less problematic then men so they are given less attention for the crimes they have committed. Carol Smart has quoted judges who are being biased against females: It is well known that women in particular and small boys are likely to be untruthful and invent stories (Judge Sutcliffe 1976) how would the female fell in this case? She would fell like it was her fault like he had committed a crime. She also asks three very interesting questions about females and what crimes the commit and why they do: Do females really commit fewer crimes then males, or are the figures misleading? Some Sociologists have suggested that females offences are constantly under-recorded by the authorities Although females continue to commit comparatively few crimes, some people have suggested that the proportion of crimes committed by females has been increasing. According to a number of commentators this alleged increase has resulted from Womens Liberation. Is this so? Why do females who break the law commit crimes?. 2. Official Statistics, Criminality and Gender. Otto Pollak helps explain the answers to the above questions. He has looked at the figures of crimes committed by females over different countries so it is not as accurate as it would be if the U.K statistics were used.  Pollak insists that the official figures are very vague level of female criminality. He further indicates that he thinks that a large amount of petty theft crimes are committed by females, and the asserted that such crimes that were improbable of coming to the awareness of the system.  Many unreported crimes were committed by  female household servants. Otto Pollak also insinuated that a females household roles gave them a considerable opportunity to commit such crimes like Poisoning Loved ones and sexually abusing their children. The police, Magistrates and other law enforcement officials have a tendency to be male. Raised to be courteous, and are usually compassionate towards female offenders so that smaller quantity of females becomes apparent in the statistics. 3. Criticism of Otto Pollak Frances Heidensohn used the statistics for the U.K to point out the major flaws in Otto Pollaks argument. Frances Heidensohn point out flaws in the statements above with his research. Most shoplift is actually done by middle ages males rather than females. That the time Pollak was writing there was a cut in the number of female household Servants. Heidensohn draws awareness to the quantity of crimes performed against prostitutes by male clients, and the occurrence of male crimes in domestic life, all the evidence point towards males being significantly more likely than a female to commit aggressive and sexual offence in the solitude of their own home. Otto Pollaks statistical study is based on insignificant data and unconfirmed statements. Heidensohn notes that the disguise of menstruation is by no means collective and changed sexual society have long since made gibberish of his view of passive, friendly females threatening revenge. 4. Evidence against the Chivalry Thesis Steven box has re-examined the statistics from self-report studies in Britain and the USA. A few of these studies show some compassion regarding females, the greater part do not. The Mass of verification on females committing serious offences does not give obvious foundation to view that they get given a degree of difference and more positive conduct from members of the community, police and judges. Abigail Buckle and David P. Farrington preformed a small-scaled surveillance study of shoplifting in a British department store in southwest England in 1981. Shoplifting is one crime where the female offenders nearly match the male offenders in the official statistics. This study found that two point eight percent of the one hundred and forty-two males observed shoplifted but only one point four percent of the three hundred and sixty-one females shoplifted. Evidently this study uses far too small a sample to get an accurate assumption, but as one of the very few attempts to measure crime precisely it does prove some evidence against the Chivalry Thesis. In 1983 David P. Farrington and Allison Morris conducted a study off sentencing in magistrate courts. They started out by noting the some official figures did imply more compassion towards females. E.g. In 1979 six point six percent of males were found guilty of indictable where as only two percent of females were convicted. Farrington and Morris examined data in sentencing for four hundred and eight offences of theft in Cambridge in the same year. Some one hundred and ten of these offences were committed by females. Although males receive more severe sentences than females, the study found that the differences disappeared when the harshness of offences was taken into account. Farrington and Morris came to the conclusion that there was no self-sufficient effect of sex on sentencing seriousness. Roger Hood on the West midlands in 1989 carried out a more recent study the used a sample of two thousand eight hundred and eighty-four male and four hundred and thirty-three female defendants in crown courts. Hood compared the sentencing of males and females, controlling for variables which he had found affected the sentencing of men. He found that white women were give custodial sentences thirty-four percent less often than men in similar cases and black women thirty-seven percent less often. 5. Female Crime and Womens Liberation. Freda Adler claimed that womens liberation had shown the way to a modern form of female criminal and has amplified females involvement in crime. Freda also thinks that the biological theories are not precise and she believes that is has nothing to do with a females hormones, aggression and criminality. In the USA between 1960 and 1972 robberies by females went up by two hundred and seventy-seven percent males by only one hundred and sixty-nine percent. Embezzlement by females rose by two hundred and eighty percent in the same period of time, whereas for males it rose by as little as fifty percent. Overall arrests rates for females rose three times as fast as those for males and particularly among female delinquents. Why then were women becoming so much more involved in crime? Adler believed the main reason was that females were taking on male social roles in both legitimate and illegitimate areas of performance. She stressed the pace and extent of change saying: there is a tide in the affairs of females as well as males, and in the last decade it had been sweeping over barriers which have protected male prerogatives and eroding the conventional differences which once nicely defined the gender roles. Adlers views proved to be very contentious, for the most part as they could be used to imply that the womans liberation was a bad thing. They replicated Substantial research into the question on whether female crime is increasing or not. Adler is relying on statistics which are clearly unreliable as they are not recorded properly as stated earlier by Carol Smart and Frances Heidensohn. They believe that that system is too soft on females and that they are more likely to get away with petty crimes than males are. Sources Smart, C. Women, Crime and Criminology 1976 Pollak, O. The Criminality of women 1950 Heidensohn, F. Women and Crime 1985 Box, S. Recession, Crime and punishment 1987 Adler, F. Sisters in crime 1975

Huckleberry Finn: A Trip :: essays research papers

A Trip Within’ The Heart Of A Colorless Boy   Ã‚  Ã‚  Ã‚  Ã‚  In Mark Twain’s Adventures of Huckleberry Finn, the main characters take a trip within the heart, not just a trip down the Mississippi River. Throughout the trip down the Mississippi River, Huckleberry Finn’s, a homeless waif, thoughts about racism change from a racist unwanted boy to a true human being with a sense of his own destiny. Throughout the novel, Huck narrates his adventure and thoughts upon racism and inequality between “niggers'; and whites. Huck and “nigger'; Jim, runaway slave, float down the Mississippi River as unequal individuals, but towards the end of the novel Huck distinguishes that even African-Americans are as equal as white human beings.   Ã‚  Ã‚  Ã‚  Ã‚  Huck never respects the “niggers,'; especially Jim since Huck and Tom Sawyer, a romanticized friend, continuously play tricks on Jim so they can feel superior to the “black'; race. Even though Huck escapes society and his abusive father, Pap Finn, he continues to play tricks on Jim, since Jim ran away from slavery. For example, when Jim explains that he ran off Huck disapproves but promises not to turn him in even though “people would call [him] a low-down Abolitionist'; (50). This demonstrates that Huck is a kind trustworthy racist boy; however, Huck’s superstitious character “curled [a rattlesnake] up on the foot of Jim’s blanket'; as a joke, although in the night the rattlesnake’s mate bit Jim (59). In addition, Huck “warn’t going to let Jim find out it was [his] fault'; nor apologize because he did not want to feel low to a “nigger'; (59). This incident demonstrates that Huck still views himself as su perior to Jim because of his skin color. At this point of the novel, Huck is helping Jim escape which makes him feel low down to civilization; however, he continues to trick Jim so he can be better quality. Huck maintains to treat Jim with little respect and even though he suffers for the trick, he never apologizes to Jim.   Ã‚  Ã‚  Ã‚  Ã‚  As they progress down the river, Huck begins to realize the true character of Jim as an equal man with greatness and kindness in his heart. During their ride down the river Huck decides to play another trick on the so-called unintelligent Jim. The final trick Huck plays on Jim while they are in the fog is making Jim believe that everything that has happened in the storm after they broke-off from each other only occurred in Jim’s mind.

The Company Man

Ellen Goodman’s attitude toward Phil in her column, The Company Man, comes off as a bit mocking. The use of repetition allows her to clarify her tone toward Phil even further. She conveys this attitude specifically when she uses quotations and explanations of his family members.Goodman’s constant repetition of the phrase, â€Å"He worked himself to death, finally and precisely at 3am Sunday morning,† implies her sarcastic attitude which is apparent throughout the piece. What she is trying to say is that all of the hard work he did was for nothing because he ended up dying and was totally replaceable. She clarifies her sarcastic tone in line 77 where she not only repeats he quote, â€Å"He worked himself to death at precisely 3am,† but adds â€Å"no one was really surprised.† This is saying how everybody had an idea and definitely knew that he was literally working himself to death. The worst part was that in the end it was all for nothing.Philâ€⠄¢s â€Å"survivors† consisted of his wife and three children. The eldest of his children asked the neighbors about his father and what he was like. The author uses this to imply how Phil was never there for his children because his father was always working. Another example of how Goodman exemplifies this is when she writes, â€Å"†¦but whenever she was alone with her father, in a car driving somewhere, they had nothing to say to each other. This shows how since he was never there, they didn’t really have much to bond over or talk about.Ellen Goodman mocks Phil by using dialogues of his family members and also by the use of repetition to express her attitude and tone. Her overall argument is that you should enjoy your family instead of working, literally, to death, for you never know when it might be too late. In Phil’s case, he died without achieving his desired results, which were to finally become president of his company. Goodman finally ends her colu mn with the dialogue of the company’s president, asking the workers, â€Å"Who’s been working the hardest?† a perfectly ironic closing, showing readers that Phil essentially died to make some other workaholics dreams come true.

Art Industry Issue Essay

Graffiti originated in New York in the late 1970s. It started off with locals writing their names on walls and subway train just for fame. Before and after that though there were other types of graffiti such as political statements. Graffiti these days is mostly â€Å"tagging† which is the act of marking a surface with a quick scrawl, stencils are common in the city and large aerosol pieces are usually found alongside train lines. The main issue dealing with graffiti these days is how to prevent it. At the same time there are parties that argue we need graffiti and it is an important form of art. Most people trying to prevent graffiti are usually only against the art being produced illegally, that is on private property without permission of the owner. The main argument against graffiti is that it is mainly tagging and it has no brains behind it all. None of it has any meaning. It is so called art that is only for the hip-hop community. The tags make everything look disgusting because it is messy and unreadable. It gives the impression that the councils do not care. It costs around $200,000 a year to remove from walls and public transport, this money could be better spent. Graffiti is a crime and attracts more crime and gangs. Owners that have had their property vandilised by graffiti artists would want to move some where else. Graffiti on shop windows is bad business. There have been a range of ideas presented to support graffiti in a good way and prevent it from occurring illegally. Ideas already in practice are Designating â€Å"high tolerance zones† in lanes in Melbourne CBD (Central Business District), such as Hosier Lane. The purpose of high tolerance zones is to keep graffiti on the streets and not remove it. Artists will be attracted to use the lane to exhibit their art instead of commercial and public buildings. ?Legal murals have been encouraged by councils. This aims keep people interested in the graffiti style of art but on a legal level. ?Exhibitions are held frequently at places such as Kent Street Cafe’s Early Space and the Meatmarket that show graffiti related art work and art done by present and former graffiti artist. Artwork on exhibition is hardly ever tagging, but other forms of graffiti such a stencils, stickers, posters and aerosol pieces. This is aiming to move graffiti art from a street level to a professional level that can be used in the art industry. Councils aim to remove fresh graffiti from public transport within 24 hours. This aims to lower vandals moral and send the message that what they do will not stay so there is no point in doing it. Debates on whether or not graffiti is an actual art and what to do to prevent arise in newspapers. In articles such as Graffiti Crimes from The Age (Melbourne) magazine and Graffiti Plan Ridiculous from the MX paper the writers have very aggressive and unfriendly tones. In Graffiti Plan Ridiculous the writer is actually attacking a writer of a previous letter that suggested everyone entering the CBD must show ID and proof of address. The idea goes with out saying that is ridiculous. There was really no need to lunch an attack just for suggesting it. This shows that tempers are wearing thin on the issue and it is creating a lot of hostility. The article A Display Of Culture by Renae Payne shows the contention of graffiti artists that consider the art as an important part of youth and hip-hop culture. All the artists are in favor of getting legal support from councils. PERSONAL OPINION ? James Borg I think that graffiti is an art, always has been and always will be. The same can be argued about Marcel Duchamp’s Urinal as it is not a traditional form of art and can be seen as an insult. If a urinal or scribble on a wall can be art then any thing can be art. Something becomes art when it is taken out of context. In the case of graffiti, in all its forms, text and images that are made to be contained on paper and private places are put onto public surfaces. Just because I think graffiti is a form of art does not mean it is not ugly. I think some art in galleries can be very ugly, just because I don’t like the look of it doesn’t mean everyone does not like it. I have very high expectations of graffiti art. The placement of graffiti art is crucial. The high-tolerance zones are a good idea because all the good art is concentrated in one spot, any one can add their own work to it and no one gets in trouble. Legal murals everywhere are the best because the graffiti does not have to be secluded to a small lane and it encourages more legal murals. Legal murals hardly get vandalised. Illegal graffiti in certain areas definitely destroys the area in a lot of ways. If a wall gets crowded with graffiti it will attract more graffiti, some times of much lower quality. Some times better artists will add their work. Either way the public do not want to see it. I can not say I would like or not. If it were just tags I wouldn’t, depends on what it looks like. Fences that run parallel with train lines are constantly being graffitied. Artists want their work on these walls because people hundreds of people catch the train everyday and see their work. If these walls were legalised the amount of illegal graffiti would probably be reduced by more than half. There are a lot of already legal walls on the train line and most of the time artists ask the owner if their wall can be painted. This should be encouraged. I like the whole style of the graffiti pieces and the elements used. I am not concerned about trying to get illegal graffiti recognised as a professional art form in the industry. Graffiti was meant to be illegal, that’s the whole point of it. Illegal work will never be appreciated totally by critics because there are too many negatives. Art works in galleries that are based on graffiti might look good but technically it is not graffiti. I will support it as long as it stays creative. I have pretty much grown out of liking graffiti anyway because it is all the same really. I realised that it does more harm than good and it has lost its meaning, even though it started off putting a name up for fame. Stencil art is good but a lot of it lacks skill and originality. The only way illegal graffiti artists will get properly recognised is by doing legal work.

Creating Characters That Readers Love

Creating Characters That Readers Love Long after youve read a good novel, the individual scenes might fade in your memory but the characters will stay with you for much longer if the author did his or her job correctly. In fact, this is one of the necessary things that makes a good novel- characters that are immortal in the readers memory. It is only through these immortal characters (think: Scarlett OHara, Don Corleone) that the novels, themselves, become immortal. They are the lifeblood of the work and without them, it would not have achieved nearly the same level of success as it did with them.So how does a writer create characters that readers love? Well, it isnt easy. A character that remains immortal in the mind of the reader is likely a product of a lot of work on the authors end to make that character what he or she is. Just as with outlining the plot of the novel, outlining a character takes considerable time and thought. If you want the same for the characters of your novel- particularly the protagonist, try fo llowing these steps.Give them idiosyncrasiesLets face it- all people have idiosyncrasies. Sometimes it takes really getting to know an individual before we discover what those idiosyncrasies are, but then again, sometimes even the casual onlooker can see them. These can be anything from a nervous tic, to a strange gait, to eating habits that range from overly compulsive to simply bizarre. Having idiosyncrasies is what makes us human. It gives us uniqueness and distinguishes us from others. The exact same effect occurs when you give your characters idiosyncrasies.One good way to do this is to take a few hours to observe others closely. It might be friends or co-workers or family members, but observe them for a while to see their idiosyncrasies. If you are observing someone you know well, then you probably already know many of these. However, close observation is always a good tool to discover more. Watch how they walk, how they move their hands when they speak, how they respond to no ises or how they react when angry or startled. Make notes about these traits and use them (or versions of them) for your characters.Give them hopes and fearsGiving your character hopes and fears is yet another facet to making them seem real. There are several ways to do this, but most of the time, authors use an interior monologue through which the character reveals them to us. This can be done through memories of childhood, reactions to events that take place in the story, or even through the characters own dialogue.Giving your characters distinct hopes and fears has another benefit- it allows you to make the plot more intricate and deepen characterization. For example, imagine a scene in which a particular character faces something he has feared since childhood. You can use interior monologue combined with external dialogue to incorporate dramatic irony as a literary device: the character might be reacting one way outwardly while thinking something entirely different inwardly. Thi s setup has multiple benefits, including revealing your characters fears- the fears that he or she keeps hidden from the rest of the world, even hidden from the other characters. This simple step gives your reader the feeling that they really know this character; they understand because they, too, have fears that they hide from others. And thats exactly what you want to achieve if you want the character to stand out in the readers mind.Make them larger than lifeYour characters (at least your main ones) should be larger than life. They can be regular, average Joes but they need to do something that is extraordinary. When someone picks up a novel to read, they do it to escape- escape their everyday life and the mundane, escape a world that is ordinary. Very few authors have managed to write bestselling fiction with characters that fail to do anything extraordinary. It is this element of the extraordinary that makes the novel such a great escape to the reader.Give them historyOur uniqu e histories are a large part of what makes us who we are. In the same sense, giving your characters history will add depth, making the character seem more real in the process. This history should be first created when you are outlining your characters, but can be fine-tuned and reworked as you progress in your writing. Intertwining characters histories is also a great way to add depth to your characters and plot, making it more complex and interesting.Give them flawsOne of the most fascinating parts of a heros story is revealing his tragic flaw(s). Through this, the character becomes more real, because humans are indeed flawed. Think of it like this: people who seem to be perfect are usually quite boring. It is the imperfection of others that attracts us to them, and their quirks make them more appealing. The same is true for your characters. Let them be messy or disorganized, let them have a temper, let them have insecurities, or let them be haunted by a mistake they made in their past that has had repercussions on their lives- even your protagonist. These traits will give them depth and make them more interesting in the process. Most especially, these traits will help readers identify with your characters, which is exactly what you want to happen if you intend to write bestselling fiction.