“Lamb to the Slaughter” by Roald Dahl Essay

â€Å"Lamb to the Slaughter† by Roald   is a fun story that uses irony and perspective to create a truly enjoyable story. Still, to get the greatest value out of this story, it is worthwhile to understand not only what happens in the story but why it happens. From the way the situations of the characters change them to the decisions they make, everything in this story must work together to create a masterpiece. What Point of View Is â€Å"Lamb to the Slaughter† Told From and Why Is That Important? â€Å"Lamb to the Slaughter† is told from the point of view of Mary Maloney. This choice to tell the story from the point of view of the murderer is an interesting choice and one that largely defines this story. The reader knows only what she knows. At times, such as the end of the story, this means that the reader knows more than the other characters, especially in relation to the leg of lamb. On the other hand, the reader is not given access to the reasoning behind Patrick’s decision to leave. This makes it far easier for the reader to be on Mary’s side when she makes questionable decisions. Free Teacher Worksheets www.TESIndia.com Thousands of free class activities, lesson plans & worksheets. Ads by Google What Influence Does Mary’s Pregnancy Have on the Story? Early in the story, the reader discovers that Mary Maloney is pregnant. This understanding is important to the story on a number of levels. The most basic is that it helps the reader to understand just what it is that her husband is doing by leaving her. This makes the story more ambiguous in morality by making the reader associate with the woman more. In addition, it almost certainly helps keep her from being suspected. The motherly instinct of protection is invoked by this understanding as anyone can understand the  instinct of a mother protecting her child and the fear of execution is vital to making Mary a more positive character. Why Are the Exact Words Patrick Says When Leaving Mary Left Out? In the middle of the conversation between Patrick and Mary, the narration changes for a single paragraph at the very climax of the conversation. Patrick leads into the conversation with the hope she won’t blame him too much. It then says that he told her, though not exactly what, and ends with him saying that he will take care of her. This change in narration is disconcerting and in large part that is the point. This helps the reader to understand the disorientation and detachment of Mary. In addition to this, by not telling the reader exactly what happened, it gives far more power to the reader in the interpretation of her later actions. By not knowing exactly what he said, it lets the reader decide if Mary’s actions in the rest of the story are justified or not. Why Is Patrick’s Profession Important? Patrick is a police detective. This bit of information is vital to the story in a number of ways. As a story in which the reader is supposed to empathize with the murderer, having the victim be a vital and trusted member of society creates even more conflict in the mind. In addition to this, it plays with two basic ideas, that the police will look for a killer more vigorously if an officer is killed, but also that she knows the officers who will investigate the crime. This means that they are more likely to be comfortable with her. Also important is the understanding that Mary is likely to have an escape of being arrested for the crime. As the wife of a police detective, she has almost certainly heard many stories about crimes that he has solved and how he has done it. Finally, this creates many other suspects that could have committed the crime because as a police detective he has many enemies. What Is the Dramatic Irony in â€Å"Lamb to the Slaughter†? There are a couple of moments of dramatic irony in â€Å"Lamb to the Slaughter.† These are cases in which the reader understands more than the characters.  The most clear of these occurs near the end of the story. Mary has called the police and the detectives are in her house. As they are eating the lamb of leg, one of the officers says in relation to the murder weapon that it is â€Å"probably right under our very noses.† This statement is literally true though the officer who says it has no idea what he is saying. What Is the Origin and Meaning of the Title â€Å"Lamb to the Slaughter†? The original use of â€Å"Lamb to the Slaughter† is found in the Bible. This phrase is located in both Jeremiah and Isaiah. It refers to someone who goes innocently and unconcernedly into a dangerous or life threatening situation. In the story â€Å"Lamb to the Slaughter,† it has a number of meanings though. The first clear meaning is one that is a form of dark humor. The lamb in this case is actually a murder weapon. This twists the meaning of lamb to the slaughter into something that is not a metaphor but what actually happens. While the first meaning is clear, the metaphorical use of the statement is still valid and in fact there are two people who go into a situation like lambs to the slaughter. The first of these is the murder victim who, while knowing he is going to do something uncomfortable, has no idea what is going to happen to him. The second though is Mary herself. It is the shock because she doesn’t know what is coming and that shock is what drives her over the edge. Why Does Mary Insist the Police Eat the Leg of Lamb? Leg of Lamb In the story, Mary asks the detectives to eat the leg of lamb she had made for her husband, and even when they turn it down, she insists that they eat this. This insistence is important beyond simply the idea that it is the murder weapon. By having the detectives eat the lamb, they have destroyed the evidence which will make them look stupid even if they later understand. This will discourage them from thinking of it as a weapon. In addition, because she ensures they have seen the murder weapon rather than hiding it, she defies the expectations as most criminals hide the weapon. â€Å"Lamb to the Slaughter†: Conflict, Rising Action, Falling Action, Climax and Resolution written by: Elton Gahr †¢ edited by: Elizabeth Stannard Gromisch †¢ updated: 3/2/2012 By understanding how Roald Dahl is able to build the tension and conflict in â€Å"Lamb to the Slaughter† and how the tension falls afterward is a great way for anyone to understand how to tell a better story or simply recognize the qualities of a good story. Roald Dahl The best stories are often those in which we miss most of what the author is doing. A good author is not only able to use the tricks and tools of language to tell a good story but able to hide those tools so that they don’t distract the reader. Yet in stories like â€Å"Lamb to the Slaughter,† there is a great deal of value in looking at and understanding what they have done. That is why the examination of the structure of a story is so useful. Understanding the rising and falling action of â€Å"Lamb to the Slaughter† can help writers to tell a better story and readers to understand and enjoy the skill of the author just as someone might enjoy the brush strokes of a master painter. Climax In order to understand what happens after the climax, one must first be able to pinpoint the point of maximum tension in the story. In the case of â€Å"Lamb to the Slaughter,† there are in some ways two climaxes. The first of these is at the point in which Mary attacks her husband and kills him. This is the culmination of everything that has happened to this point in the story. The story then pulls back and allows the action to fall. The second and main climax of the story occurs when the detective notices that the oven is still on with the leg of lamb cooking. This is the point at which the detectives are closest to discovering the murder weapon and Mary has to keep from being caught. The conflict then begins to rise again as she creates an alibi and brings in the police to catch the murderer. Conflict Just as there are two climax in the story, there are two major conflicts in this story. The first of these conflicts is between Mary and Patrick as Patrick tells his pregnant wife that he is going to leave her. This conflict ends as Mary hits her husband with a frozen leg of lamb and leads into the main conflict of the story. This second conflict is in Mary’s attempt to avoid being caught. She knows that if she is caught she will be executed and fears that her unborn child will be killed as well. This becomes the main conflict of the story and leads to the ultimate resolution of the story in which the detectives eat the evidence of her crime. Rising and Falling Action of the First Climax The action of the story begins to rise as Mary waits for her husband to return in anticipation and continues to increase as it becomes clear that he is preparing to tell her something. It reaches its climax as he explains that he knows that it is a bad time and as he turns his back Mary hits him with the leg of lamb. The falling action for the first of these climaxes is interesting because it has to set up the action for the second half of the story while releasing some of the tension of the first half so that it can be rebuilt. The line which carries the load of this work reads â€Å"All right, she told herself. So I’ve killed him.† This line pulls back the emotions not only of Mary who is telling the story, but also the reader. It is a well created note to the reader that the story is now going to slow down and change. The next paragraph continues this as the woman, who was moments ago out of control, begins to think through the possibilities. She knows that the penalty for murder is execution, but fears for her unborn child and decides that she must protect that child. This then leads into the action beginning to rise again as she focuses on avoiding being captured. Rising and Falling Action of the Second Climax The second climax of â€Å"Lamb to the Slaughter† is the true climax of the entire story. With action that continues to rise as Mary tries to cover up her crime from seconds after she commits it until the moment the detective sees that the oven is still on, the tension spikes. At this moment, Mary is very close to being caught. Yet she is able to think clearly and doesn’t react out of fear. The character herself creates the falling action as she offers the officers something to drink and asks them to help her get rid of the meal that she had been cooking for her husband. This leads not only into the irony of â€Å"Lamb to the Slaughter† as the officers eat the evidence that would have likely put Mary into the electric chair, but also the falling action. The officers have clearly decided that she is the victim of the crime and not the perpetrator as they try to console her. The last of the action disappears as the police officer, while eating the leg of lamb says of the murder weapon, â€Å"Probably right under our very noses,† a literal truth that makes it entirely clear that the police have no idea what happened and are unlikely to discover the truth. In the other room, the last line of the story shows Mary free of tension as she begins to giggle. Resolution Leg of Lamb The resolution of â€Å"Lamb to the Slaughter† is largely implied by the final line. The assumption of the author and reader is that with the murder weapon gone, Mary will not be captured for the crime. Yet none of this is actually said in the story. The story simple ends with the police commenting on the lack of murder weapon and Mary giggling presumably at the irony of them looking for the weapon while eating it. â€Å"Lamb to the Slaughter† is an excellent example of a story that is able to create and release action expertly. It builds up slowly, adding tension on top of tension, until it reaches a crescendo and then releases that, creating a powerful story in the process. Understanding where and how that the author has created that rising and falling action can help to create a greater appreciation for this story and the masterful brush strokes of a  master artist as he created the story. Symbolism: The symbolism Dahl uses to etch the theme of the story begins most obviously with the title of the short story itself, â€Å"Lamb to the Slaughter† and the instrument used by Mary Maloney to kill her husband. Lambs have been used for thousands of years as a symbol of innocence, meekness, and purity. The phrase â€Å"like a lamb to a slaughter† represents something innocent happily making its way towards a negative situation in which it will most likely get hurt. Looking at the story, this phrase could be relevant to either character. Mary Maloney could represent the lamb in the sense that even after her husband told her some seemingly terrible news, she continued on being a gentle and caring wife by trying to make dinner for him as though nothing is wrong. She has apparently been completely blind to these events and has been being led around to this ultimate severance of her marriage like a small fluffy animal to be killed and served with mint jelly. Having the murder weapon just so happen to be a leg of lamb, it is also a symbol of the lamb retaliating against the force attempting to take its innocent and light. Patrick Maloney, however, could also be recognized as being unaware, if not innocent, to a demise. After telling his devoted wife the bad news, he continues on. While he does fight her making him dinner with anger, he is still continuing to stay and talk with her while she essentially goes into a frenzy about her beloved husband. His murder was as easy as that of a lambs, he was completely unaware her retaliation would be fatal. Dahl’s symbolism is interesting and clear and weaves a great layer into the story.

Eating Disorders: Disease or Choice

This desire for perfection is one of the main causes of eating disorders for both men and women around the world. While there are many different organizations and reatment establishments, the aid required in overcoming an eating disorder is very expensive. Many insurance companies deny coverage for the treatment of eating disorders because they view it as a choice, because the treatment is too costly, as well as the uncertainty of the treatment for each individual patient.The standards for qualifying as having an eating disorder are very high; it is very difficult to qualify for covered treatment. The government needs to rectify this by providing more health coverage for people with eating disorders, because with the growing impact of the edia, the death rate from eating disorders will only increase. The worldwide role model for generations of women, Barbie, does not fall short of perfection. Although, what many girls do not know, are the horrors of what a real, life-size Barbie woul d be like. Dr.Margo Maine, in her book, Body Wars, reveals the truth behind a human Barbie: â€Å"If Barbie were an actual woman, she would be 5'9†³ tall, have a 39†³ bust, an 18†³ waist, 33†³ hips and a size 3 shoe† (â€Å"Barbies† 1). While these characteristics might sound appealing to some women, this â€Å"perfect† frame would cause a woman many roblems (â€Å"Barbies 1). With these proportions, Barbie would not likely menstruate and would need to walk on all fours as if she were a household pet (â€Å"Barbies 1). The doll's head, hands and feet are also not to scale (â€Å"Barbies† 1).Seeing someone, such as Barbie as perfection is a true example of a distorted body image. The Gale Encyclopedia of Medicine refers to body image as â€Å"a person's mental opinion or description of his or her own physical appearance† (Davidson 690). A falsified body image, the fear of becoming overweight, the refusal to eat foods, and/or bi nge eating ollowed by purging through vomiting, heavy exercise or the use of laxatives are all symptoms that characterize the worldwide epidemic of eating disorders (Prescott 104).Although eating disorders have the highest mortality rate of any mental illness, only 1 in 20 people with eating disorders receive treatment (Kulkarni 1). The lack of federal and state laws encourages the low incidence of treatment (Kulkarni 1). The Federal Mental Health Parity Law only requires health insurance plans (that already offer mental health coverage) to provide the same level of benefits for mental llnesses as for other physical illnesses and diseases (Kulkarni 1). This law does not accept that these insurance plans must provide mental health coverage (Kulkarni 1).The law also allows states to determine which mental illnesses they will provide coverage for (Kulkarni 1). While some states, such as Arkansas, have laws providing coverage for all mental illnesses, some states limit the coverage to à ¢â‚¬Å"serious mental illnesses† or a specific list of â€Å"biologically based† mental illnesses, such as Iowa (Kulkarni 1). These categories have been used by states and insurance companies to estrict or exclude individuals, including those suffering from eating disorders, from receiving life-saving treatment (Kulkarni 1).

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Select one topic - Essay Example Hence the term â€Å"ethnicity†. This paper looks behind the deep issues involved in the rise of the term â€Å"ethnicity† and why social scientists now prefer to use the term â€Å"ethnicity† over â€Å"race†. Various data and irrefutable information will be presented coming from peer-reviewed journals, books, and appropriate websites in order to explain how the change from â€Å"race† to â€Å"ethnicity† took place over the course of time. A look into the history of the study of human race and its evolution will show that the concept of â€Å"race† is something that can trace its early roots to the European slave trade. The concept itself is the result of a scientific revolution that emerged during the time of European imperialism and colonization. Due to the influence of people from various parts of the world upon European culture and social conduct, Europeans began to suspect that there were marked differences in the physical, social, and cultural awareness of human groups. It became their opinion that some human beings from particular parts of the world were of a higher physical, social, and cultural background than the rest. Therefore, a division between the people must exist. This division was meant to connote the higher group of people from those deemed more inferior. The term â€Å"race† was then coined in order to create a semblance of control over the African slaves using a type of mind conditio ning related to the term used to describe them or their â€Å"race†. With the widespread use of the term â€Å"race† across the globe, it became clear to social scientists that the term was used to define the real or imagined physical differences between people. The differences could be based upon visible and obvious differences such as skin color and physical appearance. Once a person is defined by his â€Å"race†, it then becomes his social identity which tends to influence social

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Defending your case - Essay Example It is a form of post traumatic relationship, where the female can go to being paranoid because of the trauma she is experiencing from the pains of the relationship. Domestic violence is actually listed as a disease, albeit not an organic one. It is a disease because it causes pain and mental stress to the victim. To be called a â€Å"battered woman† a female should have two cycles of battering. There are no statistics that show the rate of the victims of Battered Women’s Syndrome. However, there are statistics that show that 50% of all the homeless women in the States are fleeing domestic violence. Statistics also show that men beat almost 4 million women every year. They are all helpless, and as part of the syndrome, they even stick with their partners even if they are abused. However, there are those who manage to kill their abusive partners as part of survival. Unfortunately, that accounts for a criminal case. Looking through history, we can see that Domestic Violence is not new. In fact, it is permitted. Women were always seen as the inferior sex and this made the men more confident in lording over women. In ancient Roman history, the husband is permitted to use force like breaking his wife’s nose to discipline her. The English principle of coverture actually commodified women: they are properties too. Lastly, and perhaps the most infamous law regarding Domestic Violence is the Rule of Thumb. It was in the Common Law of England that states that a man can beat his wife as long as the stick used is not wider than his thumb. The Battered Woman Defense is not regarded highly in courts. Why? The main argument of the judiciary system is this â€Å"the females do not get out of the abusive relationship early on†. The judiciary system is implying that these females killed the [abusive] man because they are indeed murderous people, not saving their lives as what the females say. Looking at the symptoms of

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Discussion question - Essay Example It has an updated A5X processor bringing quad-core graphics on the rear with a VGA sensor on the front. It has a sharper screen, powered by high-speed A5x chip, and has the capability of viewing high-powered 3D games. Additionally, the new product can accommodate films on iTunes Store in Full HD, and has a clear and crispy picture resolution. Moreover, the new iPad 3 can play HD films and in the U.S., the iPad 3 connects to fast cellular networks. Most significantly, the new iPad 3 has roaming possibilities over HSPA networks making it the best product in the market (Apple, 2012). The marketing trend of this product is very affirmative. Indeed, Apple has adopted various marketing strategies like marketing mix and e-marketing. In using the e-marketing strategy, the company involves product configuration, product price valuation of the market mix, product and sales promotions, and availing the product in various markets physically and online (Kalyanam and Mclyntyre, 2002). A company’s success involves articulating all aspects of marketing, customer service and customer relationships, value creation, and strategic management. Strategic marketing management can be defined as an intensive and comprehensive program used by organization managers seeking to develop a more strategic and disciplined approach to the marketing process of a reference organization (The Rector and Visitors of the University of Virginia, 2011). Better strategic marketing management guarantees competitive advantage and subsequent increase in turnovers. According to the article â€Å"Unleashing the power of Marketing† and in relation to strategic marketing management, there is need to refocus strategic management in line with the new technological advancements, stronger customer relations, innovations, and global markets. This requires a marketing engine that will lead to a more direct interaction with the customers thus creating new markets using standard finance and h uman resources.

Forensic science - fingerprint analysis Essay Example | Topics and Well Written Essays - 1000 words

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Marriott Hotel Essay Example | Topics and Well Written Essays - 2500 words

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Asia Pacific Business Assignment Example | Topics and Well Written Essays - 500 words

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Video game violence Essay Example for Free

Video game violence Essay Video Game Violence Law Poses Questions, is an editorial located in the online magazine V Planet. Vance Velez, the author of the controversial issue, opposes the Washington law involving specific forms of video game violence, which is on the verge of being passed in the Legislature. He successfully persuades his audience that the Washington law limits people’s rights and that they should take a stand against the proposed law. His audience includes people who are in favor of the Washington law, concerned parents, and adult video gamers that oppose the Washington law, who are, in his definition, those 18 or older. Those who are in favor of the law may include politicians, or mothers who can relate to influential violence on children. Adult video gamers are those who enjoy playing video games as a favorite pastime, just like golf or aerobics, for most Americans. â€Å"Its no argument that video games are becoming more violent†, states Velez. â€Å"Many parents and politicians oppose the violence; some even want to get these kind of video games banned. † A politician who opposes this specific form of violence is Mary Lou Dickerson. Mary Lou Dickerson is a State Legislator who has proposed a law to restrict certain violent material in video games. The proposed law, which is quoted in the editorial, states: Levies a fine up to 500 dollars on anyone who rents or sells to someone 17 or younger computer games in which the player kills or injures a human form that is depicted as a public law enforcement officer. Police officers and firefighters are included in that classification. † Velez addresses many flaws in the proposed law in detail and also explains some consequences that may occur if the law is passed. Vance Velez is the author of many editorials that appear on this online magazine. His broad knowledge of video games allows him to pinpoint the main problems of the law. He successfully persuades people that are in favor of the law, that it may, in the long run, actually harm our youth. The authors main argument throughout the editorial is backed by issuing a series of examples how many games that do not endanger young children, may be banned because of a faulty law. He mentions that passing the law will limit people’s rights and may also act as a gateway law, to limit others rights. â€Å"If they take away our right to have fun and view what we enjoy, then what else will they take away when violence is still present in our society? † Vance Velez explains in detail why people should oppose the Washington law on video games. Although he does introduce and define many terms involving video games, he expects the reader to at least have some knowledge about video games. He addresses many games, like Simcity and Grand Theft Auto, which have been in the mainstream lately; therefore, readers must be up to date with video games and must be familiar with certain type of video games in order to understand the author’s references. Velez addresses adult video gamers and let’s them know that their precious games may be lost, so he urges them to take action and protest this pending law. Velez opposes the Washington law because it violates people’s rights. Velez stand that taking away things mature Americans enjoy would be a crime in itself because it violates the Freedom of Speech rights. In his definition a mature American is a person who knows right from wrong. He states, â€Å"The Washington law, because it’s built on fear of the unknown and lack of communication, fails to recognize the freedom of speech rights. † The author uses logos by referring to people’s values of their rights. The author opens the first paragraph with a question, Whats the right way to protect children from violence? He appeals to those who are against video game violence and lets them know that he wants safety for our youth with the use of good reasons. He gains trust from this audience by showing he wants things for the better. His definition of children includes those who have a sense of right and wrong but are still easily influenced. He believes that video games arent harming children; its some other factor that is the reason why video games are harming very young kids, such as lack of parent guidance and discipline. Velez talks about this later on in his editorial. He then uses pathos to appeal to the feelings of concerned parents, and those who are in favor of the Washington law, as he states, â€Å"This is the fourth time that politicians have tried to pass laws regulating violent content in video games. † This audience sees how helpless and unsuccessful the government is when it comes to passing these types of laws. This audience feels sorry for the government, they sort of look down at them shame. Those who are in favor of the Washington law may begin to think that people who can’t make up their minds organize our country. They may start to question the proposed law and wonder if it too, will fail. Velez quotes Mary Lou Dickerson, who explains what the state legislator actually thinks about video games in response to a lawsuit. The lawsuit filed today against Washingtons ban on sales or rentals of cop-killing games to children comes as no surprise. Certain elements of the video-game industry clearly want the right to sell any game, no matter how brutal, racist or sick, to any child, no matter how young. Velez rebuts this argument by initially stating it’s in violation of Freedom of Speech rights. â€Å"Politicians are actually trying to ban violent video games which are a pastime that many adult Americans enjoy. † By adult, Velez states that he means, â€Å"Those people who are 18 or older. † He persuades this audience to take action by standing up against the law. Velez remarks, â€Å"Taking away an individuals right to have fun and enjoy video games can be argued as a violation. † The author is addressing adult gamers when he states this because they have the ability to stand up against such laws. The author’s statements threaten adult gamers and make them have a sense of danger that their lives are being controlled. Velez begins his argument by mentioning games that are â€Å"harmless†, in his opinion, which may be banned because they violate the grounds of the Washington law. His example of the game Simcity, appeals to logos and ethos by explaining how an educational game would be in violation of the law. He says, â€Å"In the game of Simcity, you can cause a minor disaster in your city by causing a tornado, an earthquake or a flood. These disasters can destroy the police station or fire department, which would be in violation of the proposed Washington law. † His audiences are those who are for the Washington law and concerned parents when he explains how â€Å"innocent† games, according to Velez, are the victims of the proposed law. He persuades them by making them realize not all â€Å"violent video games† are harmful to children. I think if this audience is familiar with the game of Simcity, they would agree that it is not a violent game, but the author makes them realize that their values will be lost if the law passes, by the use of pathos. Many video gamers would find this offensive because they arent able to enjoy their â€Å"innocent† games. The audience’s emotions are being involved in this paragraph with the use of pathos. The author’s ethos is clarified once his familiarity and expertise with video games begin to show and as he introduces situations that are possible once the law is passed. In another example of a harmful video game, the definition according the Washington law, Velez introduces the game Rampage, where giant gorillas and lizards destroy cities, similar to King Kong. The author explains that in the game the animals are capable of crushing police stations and police cars. Rampage, which attracts gamers between the ages of eight and sixteen, would be in violation of the Washington law. The author introduces the silliness of the Washington law. He makes the audience realize that highly fictional characters arent harmful to children; however, he states, â€Å"In the governments eyes, they will make children grow up to be terrorists. † Velez describes the many holes the proposed law contains. Those who are for the Washington law are persuaded with logos in this situation because they believe it is only fair for children or even adults to have fun if the game is completely safe. They may also think of other forms of entertainment that may also be involved with this kind of law. They imagine other situations where law enforcement officers are portrayed or killed, such as in numerous movies such as, â€Å"Robin Hood† and â€Å"Lethal Weapon†. Why arent these issues being addressed? Are video games that much worse than violent movies and plays? In his last paragraph, Velez explains his beliefs involving the problems of violent video games. His finger points to government and most importantly, the childrens parents. He explains that parents have the responsibility to judge what their child sees and hears. Some adult audiences might find his accusation offensive and may get turned off by his remarks, because they are blunt and obtrusive. An example of this is when he remarks, â€Å"The parents should be responsible enough to monitor their children and make sure that that particular game does not enter the console (videogame system) itself. † Reasonable adult audiences may actually listen to hear what the author is trying to get across. His use of logos appeals to those who are in favor of the Washington law because he makes them think about how parents could be the source of the problem. They may agree that parents need to be on the look out for what is safe and unsafe for their children. Velez explains that parents allow children to play violent video games that influence children to do harm which portray video games as the main source of the problem. â€Å"Its easier to blame an image or machine than it is to blame people†, Velez said. The â€Å"parent† problem may make more sense to his opposing audience if they arent biased and read the editorial with an open mind. In conclusion, Vance Velez was very familiar with his topic, which gave him enough credibility to persuade those in his audience who are in favor of the Washington law, to think twice about their position and possibly accept his belief, that passing the Washington law is a mistake. He’s also successful at convincing adult gamers, those 18 or older, to take action against the proposed Washington law. His arguments were well thought out and convincing by using logos and pathos. However, his alternative to the Washington law was a bit broad and didn’t really include a solution. He identified the problems that might occur if the law is passed, such as the loss of Freedom of Speech Rights, but he had no feedback on how else to deal with the situation. I believe author’s overall argument was persuading even though he didn’t include a proposed solution.

Impact Of Cultural Revolution On Fashion Designers Cultural Studies Essay

Impact Of Cultural Revolution On Fashion Designers Cultural Studies Essay To what extent did the Cultural Revolution impact designers Vivienne Tam and Han Feng and how did it affect their work? Background In 1949, after several decades of foreign aggression and civil war, the Communists took control of China and Mao ZeDong assumed power in the country. At the ceremony in Tiananmen that proclaimed the founding of the Peoples Republic of China, he began his long term of office wearing what was to become know in the West as the Mao suit. This was symbolic in signaling the inauguration of not only a social but also sartorial revolution. The years following the establishment of the PRC were a time of consolidation, reconstruction and reform. The communists believed in the power of mass movements, seen as a necessity to maintain revolutionary spirit and these took place frequently, eventually culminating in the ferment of the Great Proletarian Cultural Revolution. During the 10 years from 1966 to 1976, the Communist Party attempted to politicize every facet of life and anything that might be regarded as bourgeois or counter-revolutionary was severely repressed. The Red Guards, essentially the shock troops of the Cultural Revolution, were instructed to attack elements of old China; old customs, old habits, old culture and old thinking. Clothes were highly visible in all four categories and, inevitably, fashion was highly liable to attack. Contemporary fashion was attacked as foreign and traditional clothing as feudal and in general a concern with personal appearance was interpreted as an expression of bourgeois tendencies and extreme individualism. Indeed, one of many accounts describes the humiliation of a young woman seized by the Red Guards who forcibly removed her fashionable trousers and shoes in front of a jeering crowd and illustrates the sartorial terrorism which was common throughout China during the Cultural Revolution. It was therefore tacitly understood that dressing in a simple proletarian way was the appropriate order of the day. The government encouraged people to adopt the attire of the workers, peasants and soldiers who were regarded as the ultimate benefactors of the socialist state. The uniform of the Peoples Liberation Army was of green cotton cloth, civilian cadres wore a grey administrative uniform and workers and peasants were clad in dark blue tunics and trousers. What therefore resulted from the mass adoption of the new socially acceptable attire was a spectacle of blue, green and grey. A spectacle that both Vivienne Tam and Han Feng vividly remember. Introduction Both Vivienne Tam and Han Feng were born at the height of communist power in China and albeit in different ways, they both lived through and were influenced by the Cultural Revolution. Their individual experiences shaped their attitudes towards fashion and they are now prominent designers, recognized wordwide as well as in China. Description of Han Feng and Vivienne Tam How their lives are different: Vivienne does not live in China during the Revolution; Han Feng does Vivienne exploits Mao cult, imagery, symbolism; Han Feng opposes it completely Vivienne escapes to HongKong, remains in Chinese spectrum; Han Feng leaves to US (abandons home country completely paralleled in the abandonment of everything Communist China represented. In common: Theatrical and artistic approach, not only fashion approach Vivienne Tam Vivienne Tam was born in Guangzhou in 1957. Her father was a landlord and as the PRC was striving to eliminate private ownership, landlords were accused of exploiting people for their own profit and were thus targeted for being insufficiently devoted to state directed socialism. Tams family found themselves in a vulnerable position and as she recalls It was a really difficult time. They therefore fled to the Hong Kong, escaping the threatening Communist doctrine. Tam was left behind with her grandparents until she was three years old when she was finally able to join them helped by a couple who told authorities she was their daughter. While living in Hong Kong she was able to maintain a Chinese lifestyle while being open to the rest of the world. Hong Kong was a thriving British colony and trade center and while she continued to speak Chinese at home and followed Buddhist religious rituals she attended a Roman catholic school and began to learn English in earnest. It was this opportunity of having a bi-cultural upbringing and a hybrid way of life which not only fueled her fascination for the East meets West nuance but also taught her to be more open and accept other people and other cultures. Meanwhile, mainland China under the Cultural Revolution was not only shutting out Western culture but also Chinese culture itself, deeming it bourgeois and anti-communist. Much that was lost to the revolution in China continued to grow and develop in Hong Kong and this offered Tam a freedom of inspiration. As a fashion design student of the Hong Kong Polytechnic University, she was able to absorb the Western influence present in Hong Kong and at the same time freely investigate her Chinese cultural and sartorial heritage, an exploration which meanwhile was strictly forbidden to students in mainland China. As students in China lived under extreme repression, Tam experienced the Cultural Revolution as an observer, acknowledging the hardships but not being directly affected by them. This freedom from repression shaped her approach to seeking inspiration from the Cultural Revolution. Indeed, when she returned to visit China in the late 70s to early 80s, she experienced China almost as a tourist would. She was fascinated rather than dismayed by the blur of green and blue that surrounded her and was intrigued with Mao fashion- or anti-fashion- of putting everyone in a uniform and trying to make them equal- an attempt to cover up very real differences. She even admired the loose but tailored cut of the Mao suit and its unisex appeal; it highlighted the communist principle that men and women were equal and offered women freedom in physical movement. She noticed that this element of practicality had replaced fashion; window displays were filled with practical things instead of fashion, and she therefore ventured into the arts and crafts and home and furnishing sections of stores where she found inspiration and sources for her materials in such textiles as bedroom linens, bedspreads and towels. However, what struck her most from her experience visiting China and ultimately inspired her to create her most controversial collection was the remarkable power of Maos image. During the Cultural Revolution, portraits of Mao were ubiquitous; they hung in every living room, class room and office and Chinese people all owned Mao badges, mirrors, weavings and needlepoint works and fostered what became a cult of personality that did not immediately end with his death. People valued these items as good luck charms and Mao was effectively venerated like a God, complete with a halo. Tam was absorbed by all these style elements left from the Mao cult and collected such vintage items as inspiration. In 1994, Tam was introduced to artist Zhang Hongtu, the first artist to use Maos image in his work. She was inspired by his background and the concepts behind his work and collaborated with him to create her Mao Collection for Spring 1995. It is interesting to note their individual approaches to the project. Zhang Hongtu was born in Gansu province, attended highschool in Beijing during the sixties and later trained at the Central Academy of Arts and Crafts. He left to New York in the early 80s and, having experienced the intensity of Communist indoctrination and the overwhelming power of Maos image, began painting Mao in only a lightly humourous way, separating the image from its political undertone. It was only after the 1989 Tiananmen events that, albeit having to overcome initial strong feelings of guilt, he decided to exploit Maos image as mental therapy and as a way of expressing his own political feelings. It was an ironic reversal of the way he, as an artist, had been exploited to create propaganda art for the government. Tam sensed this political resonance in his work but instead chose to focus on its humouros element, aiming to loosen it up by amalgamating it with fashion. While Zhang Hongtu was directly responding to a need to get away from the shadow of Maos repression, escaping the authority of his image and being able to express himself politically, Tam saw the power of image and exploited it humorously as a representation of the new openness of China, using humour and warmth as a way to express the growing freedom of the Chinese people from Maos image. This highlights her inherent detachment to the emotional hardship behind the Cultural Revolution that artists who grew up under its repression feel. Tam, perhaps as a result of this detachment and thus not quite grasping the extent of the power that still lay behind Maos image, was even surprised by the strong reaction that the collection provoked. The collection comprised of 8 images of Mao; 6 of which included Mao So Young- with pigtails, a peterpan collar and gingham dress, Ow Mao- cross eyed with a bee perched on his nose against a black and yellow striped background, Holy Mao- with a clerical collar, Psycho Mao- with dark hypnotic glasses, Miss Mao- with lipstick and Nice Day Mao- as a smiley face. She printed four coloured images in a checkboard pattern, reflecting Maos changeable character and, in another design, expressed his positive and negative effects, printing the images in black and white. She also printed the images on T-shirts, deepening the texture with patterns and sequins to make the designs alive with movement and light. The striking juxtaposition of colours and textures with Maos political imagery and the resulting strongly humorous element in the designs was highly controversial, some responding to it as almost blasphemous while others deemed it tasteless. The images were compared to Warhols depiction of Mao, but, while Warhol had used the image of Mao as merely another mass icon like Marilyn Monroe, Tam and Hongtu had exploited it as a political figure which thus prompted the reaction If Mao was a dictator like Hitler or Stalin, how can it be okay to use his image as pop art? Isnt it tasteless to make fun of the suffering they caused? Tam and Hongtu contended that it was a form of critisicm to the continuing use of Maos ideology, image and flag in China and a way to further undermine the authority of Maos image; any use of Maos image which makes him less godlike, is a form of criticism. And its necessary. Yet Tam admitted that she had no idea there would be a strong reaction to the designs and it was observing the attitude towards the collection that enabled her to gain a lot of insight into Mao and his power. Han Feng Han Feng was born in Nan Jing in 1962. I grew up during the Cultural Revolution and it was difficult she explains and when she was 1 year old, authorities sent her father to another city and her parents were forced to separate. Her father hung himself and later another man she was close to also commited suicide during the Cultural Revolution. She grew up in HangZhou, Chinas artistic center, and, pursuing her childhood flair for creativity, she attended the China Academy of Fine Arts, training in graphic design as there were no fashion design programs. I started out painting how my teachers wanted me to she recalls, but then I became this crazy person who wanted to be different. It was no doubt having to endure the imposed Maoist dress code and how it stifled non-conformity which fueled Hans determination to distinguish herself; I got a T-shirt and jeans and grew my hair long so I would stand out and she gained a reputation in the academy as being a bit of a blacksheep due to her desire for experimentation and refusal to merely copy what had been done before; I wanted to learn, not copy. My teachers didnt understand that. Communist indoctrination was such that expanding creative horizons was virtually impossible. She was one of many who wished to escape the stifling repression of the tight grip maintained by the Communist Party on creative expression; We all wanted to leave China in the 1980s because there was too much pain. She met her husband who was an English teacher of the art academy, and, seeking freedom and a larger stage for her interests, she moved to New York with him in 1985. Leaving China was symbolic in asserting the approach she would take towards designing abroad; I thought, God, the Chinese-who cares? I am from China. I want to forget where Im coming, forget my past. Its just too painful to remember. The pain and struggle that characterized Hans experience of the Cultural Revolution not only determined her to leave China, but also inspired her to create designs that (whether intentionally or subconsciously) completely opposed all the elements of Maoist style, perhaps as a personal provocation and rebellion against everything it had tried to impose. When I left China she explains, everyone was wearing exactly the same thing. And it was grey. It is no coincidence that her designs are now widely recognized for their rich and innovative use of colour and that she is credited one of the most brilliant colorists in the New York fashion world. After having been limited to blue, black and red dyes which were the only ones available in dyeing shops in China during the Cultural Revolution (Antonia Finanne, 237), Han now embraces the freedom of using vibrant colours; I love designing with pure, bright colors because I didnt experience them as a child she says. Red is particularly prominent in her pallet, varying in geranium to cerise shades, as are green and blue shades of chartreuse and lime to lapis and turquoise. Her collections combine colors in subtle ways highlighted in items mixing burgundy with fuschia or pairing the different shades of green or blue, often placing paler colours alongside more intense ones for artistic effect. In addition to her use of colours, Han Feng is also known for her creative treatment of fabrics and her designs are equally characterized by their materials. Escaping the drab conformity imposed by Communist Doctrine, Han Feng reversed the changes that the Cultural Revolution had forced upon the use of fabrics in China. Chinese people had been obliged to abandon traditional Chinese fabrics such as silk and satin which, according to the Doctrine, carried a strong feudalistic connotation, and were required to adopt revolutionary cotton or patriotic wool.(Hua Mei, 98) Instead, Han Feng abandoned the bland cotton and crude wool that characterized Maoist style and zealously explored the realm of fabrics and materials that was newly available to her. Perhaps as a result of growing up in Hang Zhou, a city which had been reputed for its silk trade, she developed a keen appreciation for silk, wistfully reviving it as the fabric of her heritage. This passionate exploration and revival of fabrics and materials is clearly expressed in her collections. She works with a diverse array of materials including silk (occasionally blended with wool), organza, velvet, satin, stretch chiffon and fine polyester. These light, pliant and diaphanous fabrics which characterize her collections certainly contrast with the coarse thickness of the cotton and crude wool which she had no choice but to wear when living in China. Yet her endeavor went further then just exploring fabrics. What sparked her interest were the ways in which she could treat and manipulate the fabrics creating different textures and styles, once again delving into a creative realm which had been restricted during the Cultural Revolution. The uniformity of the Mao suit was constrained to straight ironed cotton, occasionally padded or patched, and did not allow for ruffles or any such touches of originality. It was shapeless, defined only by the square, linear attribute of the typical uniform. The description of Hans collection of 1993 in the New York times, best signaled her approach to investigating materials; She pleats fabrics into gnat-sized accordions: the tiny folds in the fabrics give drama to even the plainest polyester georgette. Her chiffon A-line dresses were cut in spirals, like orange peels. Velvet was crinkled and pleated to make a simple tank dress fit for the wedding of a barefoot contessa. Indeed, the transformation she underwent as she explored and discovered new ways of using materials is clear in the development of her designs, in particular that of her signature scarves. While she had initially launched her career in selling pleated scarves, her collection of scarves are now paisley, plaid, fringed, crinkled, embroidered and featuring colorful woven ribbon inserts; techniques that she then applied to other clothing designs. Her Spring/Summer 2001 collection highlighted her accordion-pleated skirts and crinkled silk blouses printed with impressionistic floral patterns. Han also styles fabrics in a distinctly original way, rejecting conventional tailoring and, perhaps paralleling her appreciation of the enveloping quality of scarves, she focuses on creating clothes which wrap and veil, assembling the garment as a light sculpture on the body. This quality has been admired and her clothing has been described to wrap the body as the clouds enclose a mountain. Her collections have often been defined by the way she drapes soft jerseys and chiffons and folds back the fabric as well as by the untailored loose panels of fabric floating from the backs of dresses, uneven hems and asymmetric cuts. What emerges as a result of the blending of diaphanous fabrics, textures and colours, untailored and wrapped around the body is a light, weightless and dreamily feminine appeal. This quality is perhaps what most manifestly contradicts Maoist uniform and its fundamental principle of de-feminizing women. While the squarely tailored Mao suit was specifically designed and imposed on women to conceal their curves and natural movements, Han strives to create clothes which accommodate and embrace them. She maintains that women should enjoy their bodies more and not try to hide themà ¢Ã¢â€š ¬Ã‚ ¦the body is beautiful. She thus takes pleasure inplaying with shape and making women look more feminine in a subtle way. Her 1995 fall collection, for instance, was based on curves; curved seams that bring the jackets close to the body, curved collars that frame the neck, curved backs that give a cocoon-like shape to pleated silk evening jackets or velvet coats. Emphasizing the reassertion of feminity in her style, she complements her outfits with accessories including scarves, gloves and hair ornaments. While accessories during the Cultural Revolution were limited to Red Guard armbands, army caps, Mao badges and his little red book, Hans collections feature trimmed iridescent shawls with gilded tassels, black wool gloves weaved with rows of pink bows and polytail holders linked with velvet buttons. She even makes this twist literal in her 1999 collection; one item is a high-collared Chairman Mao jacket accented with a chinchilla scarf, a subtly controversial pairing of the strict suit with the elegant touch. With the revival of feminine allure comes the emotional feeling of her clothes. Although her designs remain simple and practical, their unparalled inventiveness and originality hold a hint of haiku-like poetry, highlighting her romantic vision. In fact her fall/winter 1998 collection was inspired by the story of a love affair between a fabric trader and a young woman along the silk road to China. No doubt she was enthused by the controversial appeal of the story, exploring its romanticism and creating a more emotional collection; emotion being an element which was wholly non-existent in the cold, military allure of the Mao suit. She later skillfully accentuated the emotional and dramatic aspect of her designs to the height of theatrical flair, leading to her debut as a costume designer and ultimately her success in designing costumes for director Anthony Minghellas English National Opera production of Madame Butterfly. 1980s onwards Mao Zedongs death in 1976 brought an end to the Cultural Revolution. Later that year, the downfall of the Gang of Four, including Maos widow Jiang Qing who had implemented the most extreme policies, led to a slow loosening of laws related to dress and social constraints. In 1984, under Deng Xiaopings leadership and the open door policy of reform, certain cities were designated open as part of a new strategy inviting foreign investment. In October 21, 1984, Hu Yaobang, the General Secretary of the Communist Party, appeared on television at a meeting of the Central Committee wearing a dark-blue western style suit. Although his move was possible because of the more relaxed atmosphere following the ascendancy to power of Deng Xiaoping, he was still making a bold sartorial statement. While both Vivienne Tam and Han Feng were able to escape the confines of Communist indoctrination and establish themselves as designers in New York, they left a China that was struggling to reassert itself within the international political stage and the global economy. This struggle was (and still is) reflected in the clumsy approach people began to take to new fashions and Western styles entering China; Tam herself commented that their style was borderline bad taste and hip because they were borderline Cultural Revolution and Western modernity. Unavoidably the new danger to Chinas sartorial identity is the influx of Western brands which are threatening to create yet another type conformity and as Tam rightly observes American influence is diluting the distinctive flavor of Chinas fashion industry. Both Tam and Han Feng are now challenging the dominance of mass produced Western brands in China. Having experienced the Cultural Revolution, they do not want to see the uniformity of the Mao era simply transgress into a new Western uniformity. What they therefore want to highlight is the importance of maintaining imagination and individuality;Everything we do should express feelings and experiences. We should create not just follow fashion. Each fashion designer should have his or her signature style. While acknowledging the need for recovering individuality in China, they are both optimistic in Chinas potential; it is growing, fashion here will soon have its own personality; We had great fashion for thousands of years, then no fashion at all. Now we are finding our contemporary design voice.

Kurt Vonneguts Cats Cradle :: Kurt Vonnegut Cats Cradle Essays

Paradoxical Nature of Life Exposed in Kurt Vonnegut's Cat's Cradle Kurt Vonnegut's apocalyptic novel, Cat's Cradle, might well be called an intricate network of paradox and irony. It is with such irony and paradox that Vonnegut himself describes his work as "poisoning minds with humanity...to encourage them to make a better world" (The Vonnegut Statement 107). In Cat's Cradle, Vonnegut does not tie his co-mingled plots into easy to digest bites as the short chapter structure of his story implies. Rather, he implores his reader to resolve the paradoxes and ironies of Cat's Cradle by simply allowing them to exist. By drawing our attention to the paradoxical nature of life, Vonnegut releases the reader from the necessity of creating meaning into a realm of infinite possibility. It appears that Vonnegut sees the impulse toward making a better world as fundamental to the human spirit; that when the obstacle of meaning is removed the reader, he supposes, will naturally improve the world. Like a dream filled with complex characters and situations which one is compelled to discuss and analyze the next day, Vonnegut uses dark humor to penetrate his reader's world. The Cornell medical student whom the narrator, Jonah, first interviews by mail turns out to be a midget. The brilliant nuclear physicist, the father of the atom bomb, is infantile. Writers and college professors are essential to human existence, and Boko-maru is a form of love that can happen anytime, anywhere, and with anyone. By creating new religious and scientific vocabularies, Vonnegut infiltrates the reader's very mind. Bokononist ideas and principles that are almost reasonable give the reader a temporary framework for interpretation, "'As it was supposed to happen,' Bokonon would say" (Cat's Cradle 63). Never too far from reality, "Bokonon tells us that it is very wrong to not to love everyone exactly the same. What does your religion say?" (CC 141). Vonnegut's prophet cuts close to the bone, and so he must in order to reach the philosophical roots of the reader's belief system. Yet, the security of any and every belief and interpretation of any and all of the characters is in one way or another polluted until there is nowhere to turn.

Original Writing :: Papers

Original Writing I had just arrived home at about 1am, I had just finished work, and Joe had just walked me home. We had had a busy night at work and a lot of fun. After running round in the kitchens all night I was so tired I went straight to bed. Whilst laid in bed starting to drift off I began to think about Joe, and how much I loved him, until I finally dropped off to sleep, and became enveloped in my dream. I was sitting in a room that I didn't recognise. It was quite dark. There were no lights on and I couldn't find the light switch, the only light visible was that of the television. I sat down on the nearest couch and stared at the T.V. All I could see was a snowy background. I heard the video player start up; it was making its usual buzzing noises as it ate whatever video was in the machine. The remote was lying on the floor next to my feet, and I was curious to know what video was in the machine. I pressed the 'Play' button. Nothing appeared on screen. I assumed that it must have reached the end of the tape so pressing the rewind button I sat and watched the tape it was of someone I couldn't quite 'make out', running extremely quickly backward. My curiosity got the better off me so I pressed the 'Play' button. I could see myself sitting at a round table with balloons in the middle. I could see myself staring at something out of camera shot. I could see by the look on my face it was a boy, because I had a grin on my face, and I looked warm and friendly. My cheeks were flushed. As I stared at the screen and looked into my eyes they were bright and wide, sparkling like stars, I liked this boy. I didn't quite recognise where I was so I rewound it further, but this time more slowly. I could see my friends dancing; I began to laugh because they looked

Hispanic Diversity in the United States :: Immigration Latino Hispanic Immigrants

The Hispanic diversity of the United States has been well documented in immigration and population numbers for many years. In 1994, there were 26.4 million Hispanic Americans living in the Continental United States.In 2005 that number had ballooned to over 35 million.Now in 2008 the number is over 45 million people.(US Census 2008) The four main groups of Hispanic citizens are the people from Mexico, Cuba, Puerto Rico and Central America.Our Hispanic population has given the United States many contributions to politics, economics, family traditions and bilingual advancement in the world. Mexican Americans, probably our best known and documented immigrated citizen to The United States has made great strides in developing our culture and adding Rich history to our country.Economic contributions cannot be overlooked,while being one of the least educated groups and most economic disadvantaged groups Mexican Americans are a key attribute to our economy by continuing to participate In great numbers in the workforce in pursuit of their part of the American dream. Mexican Americans are excellent contributors to politics as well. Cesar Estrada Chavez Founded and led the first successful farm workers' union in U.S. history.This was aimed at fair wages for worker to avoid the poverty he was forced to endure as a young man Federico Pena Was the first Mexican American to head the Department of transportation.

Communication Shc Essay

Parents and other adults who come into the school are more likely to give beneficial support if communication is strong and effective – this, in turn, benefit pupils. Communication takes many different forms, from talking to letters and memos; for a child care workers is very important to develop good communication skills so they can communicate effectively. WHY PEOPLE COMMUNICATE? There are many reasons why people communicate such as: * To give and receive information * To give and receive instructions Discuss a situation * Make a point or outline a concern * Express a need * Negotiate * Develop learning 1. 2 EXPLAIN HOW EFFECTIVE COMMUNICATION AFFECTS ALL ASPECTS OF YOUR WORK Effective communication is the key area for developing relationships with others and also covers many different forms of communication. It is a two-way process. The person communicating has to send the right message, but also needs to make sure that it is being correctly received and understood by the o ther person or people. Communication involves talking or verbal communication, and non-talking or non-verbal communication. To communicate effectively you will need to: * Be very clear about what you are trying to say * Ensure that the person you are talking to understands what you are saying to them * Showing respect and considering the other child’s or adult’s point of view * Have a rapport with the child or adult you are communicating with * Taking time to listen to others * Being clear on key points Maintaining a sense of humour (laughter can be a good icebreaker and is also a great way of relaxing and relieving stress) * Find opportunities to speak (some children lack confidence and need to be given a chance to warm-up first so that they feel able to do so) * Give eye contact and actively listen (if you look away or are busy doing something else, this gives the recipient the message that you are not really interested in what they are saying) * Use body language and facial expressions, an d be approachable(for example, with very young children, get down to their level) * React and comment on what they are saying (you may need to repeat back to pupils to check on your understanding * Be interested, responding and questioning to maintain conversation so that they can build up an understanding about how it works * The age of the child or young person ( children of different ages will require varying levels of attention) The benefits of good communication are: * Your relationship with the children * Your relationship with colleagues * Your relationship with parents 1. 3 EXPLAIN WHY IT IS IMPORTANT TO OBSERVE AN INDIVIDUAL REACTIONS WHEN YOU ARE COMMUNICATING WITH THEM? When communicating with children or adults it is important to take account individuals feelings and what they want to say. You can do this by carefully observing a variety of reactions such as: * Facial expressions and eye contact * Body language: posture and actions or gestures which help to convey meaning * Tone of voice: this can alter the meaning of what has been said * Pauses * Turn taking * Take account of culture and context, such as where English is an additional language * Build a rapport by showing understanding, respect and honesty It is thought that more than 70% of messages are conveyed through non-verbal ways. NON-VERBAL REACTIONS Facial expressions They can be a way to find out how someone feels. Some facial expressions have the same meaning all over the world, but some cultures inhibit the expression of certain emotions, such as anger or disgust. EYE CONTACT People’s eyes can express a wide range of emotions. People may have intense eye contact because they are trying to understand you. However, some cultures or people may avoid eye contact when they do not understand or agree with you, want to avoid showing their feelings or fear negative feedback. Eye contact has five important functions in communications: 1. It regulates the flow of conversation 2. It controls intimacy in a relationship 3. It gives feedback 4. It express emotion 5. It informs both speaker and listener BODY LANGUAGE Your body language can often indicate your attitudes and emotions. If the person you are communicating with has arms crossed over their chest, this may indicate anger or tension (closed position = communication barrier) * If they lean forward with separated arms and legs, this communicat es warmth and friendliness (open communication) * Indifference to your communication may be expressed through shoulders shugs, raised arms, and outstretched hands * Clenched fists and hunching may convey anger * Slouched shoulders may convey a lack of confidence * A posture with the shoulders back in a relaxed position makes it more likely that others will view you as self-confident GESTURES It is important to learn to observe and understand as much as you can about gestures of the adults and children you are communicating with. * People often use gestures such as head and hand movements to reveal or conceal feelings. They can use them to add emphasis, to illustrate points, and to manage turn-taking * A nod may encourage others to continue talking. Some of these gestures may be used as part of a signed language – such as Makaton – or as an aid to verbal communication in a noisy environment, such a the floor of a busy factory. TOUCH It is one of our most basic forms of communication and it is associated with comfort. It is also a non-verbal communication. The amount of everyday touch which we will allow people to have with us is also culturally determined. VOICE TONE Paralanguage is the way in which language is spoken. By altering our tone of voice or changing its pitch, we can convey different emotions. An example of paralanguage is whispered speech. Paralanguage features include the tone of voice (such as flat or bright), the tempo (fast or slow), and the way in which we emphasise certain words. 2. 2 DEMONSTRATE COMMUNICATION METHODS Effective communication happens when the right method is used to send a message so it can be received and understood. Early years practitioners need to know about a range of communication methods. They should also be skilled at identifying the communication and language needs, wishes and preferences of children and adults in the setting. Children and young people’s care settings are used by people from a diverse range of backgrounds who will want to communicate in different ways. Finding out about each individual’s language needs, wishes and preferences is an important part of your role. You can do this by: * asking parents whether their children have particular language or communication needs * reading reports and notes that provide information on a child’s * speech and language development, learning difficulties, disabilities (such as hearing or visual impairment) or physical conditions that affect communication abilities (for example, cleft palate) * being aware that an adult or child’s culture, ethnicity and nationality may affect their language preferences and needs * observing the children and adults who use your setting to see how they use their communication and language skills * asking your supervisor or mentor, senior staff and specialist professionals (such as speech and language therapists and SENCOs) for information, advice and support when communicating with children or adults who have special communication needs. You may need to communicate with adults (parents, work colleagues, visitors or other professionals) who have special communication needs as a result of a hearing or visual impairment, or because English is not their first language. Meeting an individual’s needs, wishes and preferences Talking is not the only way of communication with adults and children in a setting. There are different ways of communication that may be used during the day, such as: * telephone * email * video conferencing * letters * memos * sing language * interpreting 2. 3 HOW AND WHEN TO SEEK ADVICE ABOUT COMMUNICATION There may be situations in which you feel unsure about how you should communicate with a child or adult. Perhaps you will be aware that you are struggling to communicate effectively with somebody. In situations like these, you should seek advice and obtain support. You can do this by: * talking to your supervisor, mentor or line manager about the difficulty – ask for their advice about how to deal withthe problem * talking to communication or language support specialists (teachers, psychologists or speech and language therapists) who work at or spend time in your work setting. When to look for support * When you are anxious about approaching an individual * When you are not sure how to deal with a situation * When child uses another language * When you want to improve your relationship with an individual * When communication is not effective * When you feel communication is not effective If you want to learn how to communicate in a way such as signing or an individual’s home language * If you find out an adult or child has communication needs Where to look for support * Always talk first to the line manager, who may be able to advise you or work with you to seek support * Then she/he will advise you where to find support, and will probably be the person to find appropriate support if it is external * If you work in a children’s centre you are likely to have support services to help both children and adults develop their communication skills BE ABLE TO REDUCE BARRIERS TO COMMUNICATION Knowing about different barriers to effective communication will enable you to avoid potential difficulties and adapt your communication approach when this is necessary. Barriers to communicate are things that interfere with a person’s ability to send, receive or understand a message. These may be physical, organisational, personal, to do with language and culture or to do with the presentation of information. Attitudinal example Language and culture WAYS TO REDUCE BARRIERS TO EFFECTIVE COMMUNICATION Barriers to communication can often be overcome, or at least reduced by making changes to the environment, adapting your approach or by using support services such as SENCO (Special Educational Needs Coordinator). Adapting the environment Environmental changes might include: * replacing poor lighting with brighter lighting * reducing background noise or creating some quiet areas putting up multilingual posters and displaying signs clearly * fitting electronic devices such as induction loop systems for hearing-impaired people. Adapting your approach to communication In order to improve communication, early years practitioners can adapt their approa ch by: * making sure they can be seen clearly, facing both the light and the person they are talking to * making sure their mouth is visible when speaking * minimising background noise * using eyes, facial expressions and gestures to communicate as necessary and appropriate. Timing Speaking clearly and slowly, and repeating or rephrasing what you say can make communication more effective for some children and adults. The speed or pace of communication may need to be slower if a person has a hearing or visual impairment, a learning disability or is anxious and confused. It is also important to allow time for the person to digest your communication and to respond. This can mean making silences comfortable while the person works out how to reply. Using support services and specialist devices Early years practitioners should understand the language needs and communication preferences of the children and adults with whom they work. If a child or adult has difficulty communicating in English or has sensory impairments or disabilities that affect their communication skills, specialist communication support may be needed. Learning a few words of another person’s language or developing some basic sign language skills can really help an early years practitioner to establish a positive, supportive relationship with a child and their parents. HOW TO ENSURE THAT COMMUNICATION HAS BEEN UNDERSTOOD There are various ways that you can find out if your communication has been successful. If you can do this, it can help to solve any issues that arise and stop barriers from developing. Active listening Active listening involves paying close attention to what the other person is saying, while also noticing their non-verbal communication. People who are good at active listening also tend to be skilled at using minimal prompts. These are things like nods of the head, ‘Mm’ sounds and encouraging words like ‘Yes, I see’ or ‘Go on’. Skilful use of minimal prompts encourages the person you are communicating with to keep speaking or to say a little more. Clarifying or repeating You can ensure that your communication has been understood by clarifying (repeating back, summarising or rephrasing) aspects of what the person has said during the conversation. You could say something like, ‘Can I just check that you meant †¦? ’ or, ‘Do you mean †¦? ’ You should try not to clarify too often in a conversation as this will interrupt the speaker’s flow; it might also make them think you are ‘parroting’, which may appear insincere. 3. 4 SOURCES OF INFORMATION AND SUPPORT OR SERVICES FOR MORE EFFECTIVE COMMUNICATION Royal National Institute for the Deaf (RNID): They give support to people with hearing and sight loss with agencies in different areas. Association of Sign Language Interpreters Qualified in sign language professionals help people who are hard of hearing to communicate. Royal National Institute for the Blind Agencies in different areas give visually impaired people support in communicating. Teaching Development Agency Have courses to support teaching assistants working with children in schools. Common Assessment Framework (CAF) Give practitioners a right to seek support in communicating with parents and children who have specific needs. Department of education The government website or your local authority website gives information about local agencies that will help to communicate with families from a variety of cultures and religions. BIBLIOGRAPHY Children & Young People’s workforce by Heinemann Pages 2-20 www. collinseducation. com/resources/hsclevel2chapter1. pdf Pages 1-15 PRESENTED BY MONICA BELALCAZAR INTRODUCTION TO COMMUNICATION UNIT SHC 1. 2 CYPW L2 KNOWLEDGE TASK PART TWO 4. 1 WHAT IS CONFIDENTIALITY Confidentiality is not about keeping secrets; it is about protecting an individual’s right to privacy. You may obtain private, personal information from children or parents as part of your work role. As an early years practitioner you have a duty to: * keep personal information about children and families private * only share information about children and families with those who have a right to know or when a parent has given permission. Your workplace will have a confidentiality policy that sets out the rules and procedures on sharing confidential information. You should read this and make sure that you follow it in your practice. You may be asked to sign a confidentiality agreement as part of your employment contract. Again, you should have a clear understanding of what this means in practice. Cross reference with TDA 2. 2 assessment criteria 3. 5 4. 3 SITUATIONS WHERE CONFIDENTIAL INFORMATION MIGHT NEED TO BE PASSED ON There may be times when you have to reveal what you have been told, or have seen, to a more senior person at work or to an external organisation. A parent, child or colleague’s request that you maintain confidentiality can be overridden if: * what they say suggests that a child may be at risk of harm * they reveal information that can be used to protect another person from harm * a court or a statutory organisation, such as OFSTED, asks for specific information about a child. * If a child needs additional support from other professionals * If a child is suspected to be in a situation that risks their safety * If an adult has disclosed information that may raise concerns over their ability to carry out daily duties in your setting * If an outside body such as Ofsted requests to see an adult’s or child’s records When should you seek advice about confidentiality It is best to treat everything you learn about children and their families in your workplace as confidential information; it is advisable to check with your supervisor before you pass on confidential information. Similarly, it is always best to tell your supervisor if you receive any information that concerns you. If someone wants to tell you something ‘in confidence’, you should say that you may not be able to keep the information to yourself because part of your job involves safeguarding children’s welfare. It is then up to the person to decide whether to tell you or not. Always do this in an area where nobody else can overhear what you are saying. It is better to seek advice verbally rather than using communication such as email, which other adults could access. BIBLIOGRAPHY Children & Young People’s workforce by Heinemann Pages 2-20 www. collinseducation. com/resources/hsclevel2chapter1. pdf Pages 28-29

Ethnic Unbonding in South Africa Essay

Manuel Castells notion of ‘ethnic unbonding’ refers to: the gradual withdrawal certain African-Americans are undergoing, so that they no longer are a member of their initial ethnic group. ‘Ethnic unbonding’ is a process where individuals remove themselves from their ethnic groups, because they are either ashamed or humiliated to be associated as part of a stigmatized ethnic identity. â€Å"So, race matters a lot. But, at the same time, the class divide among blacks has created such fundamentally different living conditions that there is growing hostility among the poor against those former brothers that left them out. Most middle-class blacks strive to get ahead not only from the reality of the ghetto, but from the stigma that echoes from the dying ghetto project on them through their skin. They do so particularly, by insulating their children from the poor black communities (moving to suburbs, integrating them into white-dominated private schools), while, at the same time, reinventing an African-American identity that revives the themes of the past, African or American, while keeping silent on the plight of the present† Castell, M p.57. Manuel Castell raises cognizance to the fact that black South Africans are gradually disassociating themselves from their original ethnic identities. (‘Black South Africans’ refers to the non-white individuals of South Africa, those who were disadvantaged and traduced in the homelands during the Apartheid regime). These ethnic unbonding patterns were first noticed among African-Americans and now South Africans too are gradually adopting them. Citizens split from their ethnic groups to mainly better their lives, since being a part of a stigmatized ethnic group cannot ensure a successful and pleasant lifestyle. Parents want a better life for the children and they find that to live a better quality lifestyle one needs to firstly get an education. So they get a good education and become a success in life only to put their stigmatized ethnic background behind them, to avoid risking the loss of their achievements. Ethnic performances are rarely practised and individuals lose sight of where they come from. â€Å"In the last two decades, geographers have become extremely interested in the issue of ethnicity. Ethnic groups are found in essentially all societies. Ethnic groups are populations that feel a common bond and have a sense of common origin that distinguishes them from other groups. Religion, language, national origin, and skin colour are all used to various degrees by ethnic groups to distinguish themselves from others. It is estimated that the 200 or so independent countries recognized by the United Nations are made up of about 5000 ethnic groups. Increased migration of people in the last 200 years has produced a complex pattern of ethnic groups. Essentially, ethnicity is a spatial concept. Ethnic groups are associated with clearly recognized territories, either some large homeland district or some smaller urban or rural enclaves in which they are the primary or exclusive occupant. In addition, they have somehow marked these places with certain distinguished cultural signs. † (http://teacherweb. ftl. pinecrest. edu/snyderd/APHG/Unit%203/culturenotes. htm). Ethnicity is socially important. It gives certain individuals a feeling of belonging and prevents one from feeling isolated and alone. It contributes immensely to one’s core identity, focusing mostly on the construction of one’s personal identity, and in turn having an effect on the type of person an individual turns out to be in the future. It forms the basis of an individual’s structure and agency. Ethnicity also promotes national strength which can be built from the diverse cultural resources present in South Africa. It brings together a national identity. ‘Afrikaners historically considered themselves the only true South Africans and, while granting full citizenship to all residents of European descent, denied that status to people of colour until the democratic transition of 1994. British South Africans retain a sense of cultural and social connection to Great Britain without weakening their identity as South Africans. A similar concept of primary local and secondary ancestral identity is prevalent among people of Indian descent. The Bantu-speaking black peoples have long regarded themselves as South African despite the attempts of the white authorities to classify them as less than full citizens or as citizens of ethnic homelands (â€Å"Bantustans†) between 1959 and 1991. Strong cultural loyalties to African languages and local political structures such as the kingdom and the chieftaincy remain an important component of identity. National identity comes first for all black people, but belonging to an ethnic, linguistic, and regional grouping and even to an ancestral clan has an important secondary status. (http://www. everyculture. com/Sa-Th/South-Africa. html). As a result of years of racial separation and discrimination, the majority of South African citizens of which are black, have been severely ill-treated based on the colour of their skin. â€Å"A race is a population that shares visible physical characteristics from inbreeding and that thinks of itself or is thought of by outsiders as distinct. It has been used by societies to justify poor treatment of minority groups† ( http://www. sociologyguide. com/questions/ethnicity. php). For decades black people have been slandered and stereotyped by the white superior citizens, to be uncultured individuals. White people were entirely prejudiced against the black people. ‘Prejudice is a judgment based on group membership or social status. Prejudice may be formed through both individual and group influences including socialization, rationalizing through stereotypes, the scapegoating process, reinforcement of a self-fulfilling prophecy ramification of an authoritarian personality and degree of contact with minority groups.’ http://www. sociologyguide. com/questions/ethnicity. php. How black ethnic groups emerged? Being ethnic is relating to or a characteristic of a sizable group of people sharing a common and distinctive racial, national, religious, linguistic or cultural heritage. (http://www. thefreedictionary. com. ) Just like the trends in America, black citizens of South Africa formed groups based on commonalities. These people shared hardships and sufferings, as a result of being excluded from having any opportunities and privileges, by the white superiorities. The white citizens undermined the black citizens for centuries and thus blacks were forced to form close relationships with one another based on the fact that they had common deprivations. ‘Bantustans’ were formed in South Africa and these areas were wastelands of hardship. Residents of these areas were forced to deal with struggle and poverty thus leading to an increase in crime rate. People did what they could to survive. Stealing, drug dealing etc. all the forms of violence and corruption exploded from these areas. Put a group of homeless and poor people together and what do you get? Chaos. White people were aware of the disorder in the homelands and ever since then stereotypes were given to black people. What provoked ethnic unbonding? Ethnic unbonding is when individuals from an ethnic group break away from their core cultural identity and instead pursue an identity of their own. Individuals mainly do this to improve their standards of living. The stigmas attached to certain ethnic groups are undesirable and individuals are afraid of being part of these unpleasant stereotypes. Certain groups especially ethnic groups have harsh associations linked to them and for these people to improve their quality of life they need to detach themselves from their ethnic groups. The negativity one receives from being part of a stigmatized ethnic group for some is too much to handle. People want to be freed from the harmful judgements of the past, and thus completely detaching themselves from their core ethnic identity is the best way out. ‘’Race and ethnicity are central – to America, as to other societies’ dynamics – their manifestations seem to be deeply altered by current social trends. ’’ (Castells, 1997: 53). Globalisation affects people’s choices on being or not being part of an ethnic group. Westernization transforms certain cultures and moulds them into a more modernized culture, with less practices and more simplicity. Cultural identity is a victim of globalization. Culture is being altered so much by globalization and media effects that soon the culture will transform into something completely different. According to Tomlinson, J. p. 23 states that â€Å"it is fair to say that the impact of globalization in the cultural sphere has, most generally, been viewed in a pessimistic light. Typically, it has been associated with the destruction of cultural identities, victims of the accelerating encroachment of a homogenized, westernized, consumer culture. † Conclusion Ethnic unbonding is inevitable. Every single individual wants a decent lifestyle and a decent life is one with no racial, gender or ethnic inequalities. Ethnic unbonding will continue to take place in South Africa as well as the rest of the world, because the desire for one to have an improved standard of living exceeds the desire to want to belong to an ethnic area. Castells concept of ethnic unbonding is a notion unknowingly practiced amongst the people of South Africa. Castell believes that individuals belonging to certain ethnic groups are developing boundaries within themselves. However, I think that people can still live a better life and yet maintain a part of their ethnicity. Lifestyles can be adjusted so that some form of their religion and culture is integrated into their everyday life and not forgotten. Future generations might be at risk of never knowing exactly where they come from, and being clueless about their ethnic and cultural heritage. 1. Castells, Manuel. 1997. The power of identity. Cambridge, MA. Blackwell, 52-59 2. Tomlinson, John. Globalization and cultural identity http://www. polity. co. uk/global/pdf/gtreader2etomlinson. pdf(12September 2011) 3. Definitions of race, prejudice and discrimination: http://www. sociologyguide. com/questions/ethnicity. php (12September 2011) 4. Countries and their Culture – South Africa http://www. everyculture. com/Sa-Th/South-Africa. html (12September 2011) 5. THE GLOBALIZATION OF CULTURE, AND THE GEOGRAPHY OF INEQUALITY: RACE, ETHNICITY & GENDER http://teacherweb. ftl. pinecrest. edu/snyderd/APHG/Unit%203/culturenotes. htm (12September 2011) 6. Definition of Ethnic: http://www. thefreedictionary. com (12September 2011).