The Heir of the Ancient Celtic Artistic Tradition Essays

Free Essays on The Jew Of Malta

The Merchant of Venice, Shakespeare’s’ play and Christopher Marlowes’ The Jew Of Malta include primary characters †Shylock and Barabas-who are anything but difficult to loathe for their purposes. It is ordinary to be dismayed at their deeds. The two characters, nonetheless, have their specific reasons-based both in environmental factors and condition for their practices, and outfit reasons, which may legitimize them (each to a more prominent or lesser degree) to the crowd. Let’s first consider the way wherein their particular fortunes are taken from them â€the avocation of which (or scarcity in that department) may highlight a specific enemy of - Semitism. In the Jew of Malta, obviously, the usurping of Barabas’ fortune appears to be progressively subjective. For sure the Governor Freeze takes it upon â€Å"†¦ our fortitude of your contemptuous lives†¦Ã¢â‚¬  (Act II sc. 2 l. 64) - which means upon the Jews of Malta by and large. Barabas, truth be told, realizes that the pronouncement to take his riches is subjective (â€Å"†¦their arbitrament?† (Act II sc. 2 l. 81). Indeed, when Barabas simply resents the thinking of Freeze; the Governor demands, â€Å"†¦Jew, thou hast denied the articles†¦Ã¢â‚¬  (Act I sc.2 l.93). So Barabas is compelled to give up the entirety of his known home, in spite of his proposal to the Governor that â€Å"†¦you will have half ; Let me be utilized yet as my bretheren a re.† (Act II sc. 2 l. 92) or without the genuine proposal to â€Å"†¦become a Christian â€Å" (l. 73) which was the subsequent point in fulfilling the pronouncement. Rather, he is to endure the severest punishment of the declaration †to â€Å"†¦lose all he has.† (l. 76-77) No, in truth, Barabas was singled out among the Jews in light of the fact that, as different Jews expressed â€Å"†¦ the a large portion of us are poor.† And the last legitimization for the Christian people group of Malta, a clarification to the hapless Barabas? It is as the Knight says †â€Å"†¦your first revile fell substantial on thy head†¦Tis not our issue, however thy inalienable sin.† (Act II sc. 2 l. 110).... Free Essays on The Jew Of Malta Free Essays on The Jew Of Malta The Merchant of Venice, Shakespeare’s’ play and Christopher Marlowes’ The Jew Of Malta include primary characters †Shylock and Barabas-who are anything but difficult to detest for their aims. It is ordinary to be alarmed at their deeds. The two characters, be that as it may, have their specific reasons-based both in environmental factors and situation for their practices, and outfit reasons, which may legitimize them (each to a more prominent or lesser degree) to the crowd. Let’s first consider the way wherein their individual fortunes are taken from them â€the legitimization of which (or scarcity in that department) may highlight a specific enemy of - Semitism. In the Jew of Malta, obviously, the usurping of Barabas’ fortune appears to be increasingly self-assertive. For without a doubt the Governor Freeze takes it upon â€Å"†¦ our toleration of your scornful lives†¦Ã¢â‚¬  (Act II sc. 2 l. 64) - which means upon the Jews of Malta in general. Barabas, truth be told, realizes that the pronouncement to take his riches is subjective (â€Å"†¦their arbitrament?† (Act II sc. 2 l. 81). Truth be told, when Barabas just dislikes the thinking of Freeze; the Governor demands, â€Å"†¦Jew, thou hast denied the articles†¦Ã¢â‚¬  (Act I sc.2 l.93). So Barabas is compelled to give up the entirety of his known domain, in spite of his proposal to the Governor that â€Å"†¦you will have half ; Let me be utilized however as my bretheren are.† (Act II sc. 2 l. 92) or without the genuine proposal to â€Å"†¦become a Christian â€Å" (l. 73) which was the subsequent point in fulfilling the pronouncement. Rather, he is to endure the severest punishment of the declaration †to â€Å"†¦lose all he has.† (l. 76-77) No, in truth, Barabas was singled out among the Jews in light of the fact that, as different Jews expressed â€Å"†¦ the vast majority of us are poor.† And the last legitimization for the Christian people group of Malta, a clarification to the hapless Barabas? It is as the Knight says †â€Å"†¦your first revile fell substantial on thy head†¦Tis not our issue, yet thy inborn sin.† (Act II sc. 2 l. 110)....

His Right Hand A Conversation on Gender and Religion

His Right Hand A Conversation on Gender and Religion His Right Hand by Mette Ivie Harrison is a mystery novel set in a Mormon community. It’s the second in a series, following her debut novel The Bishops Wife. The book follows Linda Wallheim, a progressive Mormon married to the bishop of her ward. After Carl, a prominent and opinionated ward member is killed, it’s discovered that, unbeknownst to everyone, he was a trans man. Book Riot Contributors Jessica Woodbury and Constance Augusta Zaber read His Right Hand and decided to sit down and have a little conversation about it. A few moderate spoilers follow. Jessica:  To start, weve both read this book twice now? Ive read it twice. Once a few months ago and then again in preparation for this post to get it fresh in my head. Constance: I read it maybe a month and a half ago and have been reviewing it. We can call mine 1.5 reads Jessica:  We both read it for very different reasons. His Right Hand is the 2nd book in a series by Mette Ivie Harrison. I read the first book, The Bishops Wife, because Im a former Mormon who keeps tabs on Mormonism, and because I love mystery novels. Constance: Im trying to keep tabs on new books with prominent trans characters which is why I first took notice of HRH but I also love mysteries and the early feedback bumped it up higher on my to-read list Jessica:  I know were getting more and more trans characters, but it seems like we still have a very, very small sample. Constance: Its such a small sample. Its also interesting to me that most of the books with trans characters Im seeing feature trans women (which is a whole separate conversation about false-representation and visibility) so the fact that the trans character in this book was a trans man was different for me. Jessica:    I know its unfair to demand that any one character represent a whole group. But I do think its fair to look for trans characters that are thoughtfully created. I think were allowed to have a trans villain and/or a trans victim as long as theyre well-drawn human beings. Constance: Completely! There are conversations that Im watching right now about what it means to have trans women at the center of the spotlight right now and whether or not this visibility is a privilege. Ive been hearing lately variations on what good does this visibility mean if trans women (particularly Black and Latina trans women) are still facing social and physical violence. Jessica:  I kind of hate that its a hot topic but as a cis person I do want to see more trans people out there. Constance: I love seeing trans representation when its not freakshow style visbility which is part of why I care so much about trans-created representation. Jessica:  I admit, I was really intrigued by the setup of this novel: a trans man passing as cis in a Mormon ward. Gender issues in Mormonism are full of stuff to talk about already. Constance: Yeah! Particularly because so much of this book is about gender roles and patriarchy, her use of a trans male character is interesting. (Although my search of the text on Adobe Digital Editions isnt turning up the word patriarchy.) Jessica:  This is probably where we should acknowledge that one of the reasons were having this conversation because we arent too happy with how that played out. Carl, the trans character in the book, is just all-in for the patriarchy and that is something I really struggled with. Constance: Right, I read it with the sort of glee that comes from watching trashy reality television to be completely honest. Jessica:    I just had mounting dread chapter after chapter. Constance: I feel like we also had different relationships with the book. This might have been a bit closer to home for you than it was for me. Jessica:  I am REALLY into religion and writing about religion right now, as Im doing a lot of writing about it myself. And, you know, I grew up Mormon and was in the church until I was 25. There arent a lot of books out there that portray Mormonism in a way that feels honest to me. So I have a lot invested. Constance: While Im coming in really just connected to that one character. Ill say that as an outsider/observer, I found the way she explained Mormon topics and culture to be very uncomfortable, which is something that Id be interested to hear your take on. Jessica:  It was painful, Ill be honest. It felt like explaining rather than storytelling. I would recognize things that were familiar to me, people who were familiar to me, etc. But I didnt really feel like I came away with it seeing the actual Mormon experience and what it feels like. It felt other-ing. When you have to stop in the middle of the story to give me a few paragraphs of history, its like youre a reader on tour in an exotic land instead of just getting immersed in it. Constance: That was my read of it, too. Jessica:    One example I highlighted (I highlighted A LOT on my 2nd read) was when Linda, the main character, is having a conversation with a black cop and has to stop and explain to us the churchs history with black people so we can then understand why the conversation might be awkward. Constance: I dont know if youve read any trans memoirs from the 2000s but I found a similar tone of Let me explain this to you but prioritize the readers comfort over anything else. Jessica: Thats really it! Its not normalizing at all. I felt like her discussions of the trans character were the same way. Wed stop every now and then and get a little lecture about what Linda has read/researched about trans people. Constance: This is one area that I actually liked about it! Jessica:    Thats so interesting to me! Constance: Her very black-and-white, confusing, simplified, tangled lectures on trans people felt authentic to me for a cis lady who just googled Tell me about the transgendered people? (I assume shes the type to form her Google searches as questions.) But I dont think that was intentional characterization and just seemed to speak more to the authors experience. Jessica:  It was like your hip aunt telling you about an article she read. And the author says in the notes that she wrote this because of a family friends experience with a trans child. I completely understand what she wanted to do, but sometimes that made it feel more like an agenda than a story. Constance: It definitely felt like the desire to write a trans book came before any other plot details. Jessica:    And having a trans character whos dead for most of the book and never gets to speak for himself troubled me. Constance: I was waiting for her to find his diary or a video he recorded for his kids or something to be honest. Jessica:    As hokey as it wouldve been, I wouldve appreciated that. Constance: It would have been completely hokey but at least it would have fit with the overall hokey-ness of the book. If she got the idea to write a trans book because of knowing someone whose trans its weird that she has the book entirely about cis people. Jessica:    And yet sadly typical. Constance: Right, this seems to be a permutation of the dead transsexual/cross-dresser from cop shows. Its easier to talk about us if we dont talk and just lay there on the morgue table for them to talk over Jessica:  And the way they talked about him! I dont remember what I told you about this book before you read it, but I was worried that it would be painful for you to read all the terrible things the Mormon characters say about this man. It was painful for me. Constance: I mean this is the issue with lack of representation of Mormon stories, the concern that people may take this book as the Definitive Word on what Mormons think about trans people. Jessica:    And you know what? This may be what many of them think. I cant really say. Its not really a topic Mormons talk about. Which leads to another point: the author tries to make the distinction between gender issues and sexuality issues a few times. And then inserts a couple of gay subplots. Which only muddies the waters. (I know much more about what Mormons think about gay people than trans people.) But Mormons do define gender as essential, so theres that. That’s from the Proclamation on the Family, which came out in the 90s. Its like almost-scripture. And it is basically all laying the foundation for the gay marriage fight, though I didnt realize that then. Constance: Its interesting to me that she has the trans character quoting from this because I feel like I know (or know of) more trans guys who try to do what we call going stealth (i.e. hiding the fact that youre trans and that youve transitioned) and end up becoming more assimilationist with traditional gender roles as a way of compensating for being trans. Its like the closest thing to authentic that Carls character got for me. Jessica:    That was really something I tried hard to wrap my head around. I had trouble understanding how someone who struggled with their own gender would then be so strict to hold to gender norms. I wish thered been more to that, that it had been more fleshed out. And, you know, the fact that he basically remained celibate rather than reveal his trans-ness. Constance: Did you feel at all that their celibate relationship allowed the reader to avoid thinking about trans people having sex? Theres also the thing where Emma just doesnt seem to know what sex is at all which I found super foreign. Jessica:    I was mad that it seemed to invalidate him as a sexual being! As for Emma, I do know a small number of Mormon women who have ridiculous ideas about sex. Its very abnormal, but it happens. Not surprisingly in a culture that revolves heavily around abstinence. Constance: I guess if youre a trans guy who wants to be in a marriage but wants to be stealth I suppose thats the ideal relationship. But it just felt like an easy out for her to not talk about his sexuality. Jessica:  And when he does finally have a sexual relationship with an old flame, it feels like it just gets glossed over so quickly. I loved that the guy still cared about him and saw him as a person and didnt invalidate his new gender. But he mostly tried to hide it so we never really got to explore that. Also Linda was a total creepy psycho whenever she went to that guys house. Constance: So much of her investigating struck me as really invasive. Jessica:    It was. I mean, even though Mormons tend to be overly involved in one anothers business in a ward, and even though being the bishops wife gives you that even more, it was not cool. Constance: I was unsatisfied with her description of the ward. It seemed we kept hearing about people being involved in their neighbors lives but other than Emma, Verity, and her walking friend there didnt seem to be that much community. Jessica:    Linda seems to dislike everyone and not really be friends with anyone and yet knows a lot about people. I think people actually confide in you LESS when youre the bishops wife because they dont want it getting out to the bishop. Constance: A major point in this book is her divorce and I was curious what you thought about how she wrote about it. Jessica:    That was one of the best parts, I thought. The young marriage and quick divorce is definitely a problem among Mormons. Theres so much pressure, doctrinally and culturally, to get married. Plus, you know, the physical pressure of having to be abstinent until marriage. You hear a lot of stories, a lot of rumors, and sexual dysfunction definitely happens just the way she described. Constance: And we have the two very different reactions to that in the main character and Carls wife Emma. Jessica:    I think Lindas frustration at a husband who doesnt desire a sexual relationship is definitely more the norm.  Also I found it CRAZY how she just casually mentioned that she learned how to masturbate like it wasnt anything. I learned that was a no go, but maybe things are different now? Constance: I know that you cant speak for all members of the church but Im curious if you have thoughts on if things like masturbation are talked about in the context Dont Do This or just Not Talked About At All. Jessica:   So. I never heard about it. Because I am a woman and women dont masturbate. But I was told that the boys did hear about it as teenagers. A lot. I literally learned that women could masturbate from the movie Pleasantville. I think that was the whole plan, that women wouldnt even know it was a thing so why suggest that they not do it? Constance: Which is interesting because that doesnt feel dissimilar to national conversations about masturbation? Like its even a joke in sitcoms about how much boys masturbate but its rare to hear about girls masturbating Jessica:  Yeah, girls were treated as the guardians of virginity, without having sexual desire. Which can be a real surprise when you actual feel sexual desire! Constance: I have my own complicated history with those early feelings of sexual desire but I cant imagine experiencing it in a community that has girls has utterly virginal. I imagine it would be even more complicated for girls -experiencing same-sex desire. Jessica: My sexuality and queerness came into being in a really unusual way, due in large part to that. Celibacy being a thing though may have been more palatable to Carl, the trans character, since gay people are expected to be celibate in the Mormon church. Which means that Lindas son who comes out as gay is facing a tough future. Constance: Thats something that I would have loved to see Linda dwell more on. After all that happens with Ben, her gay ex-husband, and Carl and his lover she seems fairly optimistic about her son. Jessica: Shes so concerned about her husband accepting his son, she doesnt really seem to fathom what his life is going to be like. Constance: I wonder if it has to do with another part that I struggled with- the way that the author seemed to be so focused on saying, Oh sure there are ?_those_? hard-ass Mormons but Im going to put a positive spin on everything! Jessica:  She definitely has a you-can-be-progressive-and-still-be-Mormon tap dance going on. And I really understand that she wants to make that statement, but like a lot of other things about this book, it feels too heavy handed. Constance: She reminded me of the white gay men who are eager to distance themselves from the weird gays to show that Were just like you! Jessica:  Though I think thats less and less the case. Constance: Really? Jessica:    Yeah. Between my 1st and 2nd read of the book, the church put out a new policy on LGBTQ families which wont allow the children of cohabitating or married same-sex couples to be baptized or serve missions or join the priesthood until theyre 18, and only then if they disavow same-sex relationships. It really draws a hard line. That was definitely in my head in the second read, I dont think her son would be allowed to serve a mission if hes openly gay. Or at least, not much longer. Constance: Well damn. (This would be a good-time to plug your really excellent Toast piece btw.) Jessica:    And thanks for that softball, I do have an essay about how many progressives and feminists are leaving the church because of the policy. Constance: I was reading your piece thinking that I needed Linda to read it. Jessica:  I would LOVE to know how Lindas life will change now. Because I think Mette Ivie Harrisons plans to have this progressive Mormon character are going to be shaped by a lot of things out of her control in how the church is going these days. Constance: We talked about how it seemed like the author really wanted to write a trans book and it seems like we both agree that she also came in with a good progressive Mormon agenda too. If youre going to write a book with an agenda I think it needs to be realllly well crafted. Jessica:  I think we also both agree that this book didnt really succeed with either agenda. That it felt too crafted and not organic enough. Constance: Completely. Jessica:  And I know that neither of us feels we can recommend it as an enjoyable reading experience or an accurate view of Mormon or trans people. Constance: I would recommend it to other people who enjoy reading things they dont like. Jessica:  You totally hate-read it. Constance: I did and I have no regrets. Jessica:  You are a serious hate-reader. Constance: I was on a date the other night and told the person that hate-reading is why my skin is so nice. You know were going to get comments from people saying things like, Well, I guess I just shouldnt write about Mormons/Trans people! Jessica:    And I sooooo dont want that to happen. I want MORE. I just want this book to be a learning experience of how not to do it. Constance: Right! Jessica:    So maybe we can recommend some good examples if you want? Constance: I would love to hear your recommendations on books about Mormon characters! Jessica:  So this is where I run into trouble. Because I used to have two Id recommend and one was Mette Ivie Harrisons first book. Which I cant recommend now because the series takes such a sad turn with book 2. But I can recommend Elders by Ryan McIlvain, though I feel like a broken record because its the one I always recommend. Its SO good, though. Constance: Can you recommend it with the caveat that they should treat it Harrisons first book as a stand-alone? Jessica:    I think so? I dont know. Im really torn. It feels accurate in many ways. And the first book is kind of about having a more radical fundamentalist-type Mormon in the ward, so its different. Constance:  Ive read a few well-written trans books by cis authors where my only complaint was how their trans character was done. It can be harder to find trans books by trans authors because theyre usually smaller publishers. Jessica:    Yes! I think a lot of us are looking for good ones. I think many readers want to explore other peoples experiences through books. Constance: But I ?loved? the upcoming If I Was Your Girl by Meredith Russo. Lilith Latinis poetry book Improvise, Girl, Improvise  is amazing. And there are some great stories in The Collection which is an anthology of trans writers, edited by Tom Leger and Riley MacLeod. Oh, and Nevada by Imogen Binnie which is the book that I came out after reading. Jessica:  The power of BOOKS. Im getting all weepy. Stories matter. Stories told well mean something to people. And you and I were both very disappointed with the opportunity missed here. Constance: Very disappointed. Jessica:  I dont like talking about books I dont like, but I had trouble letting this one go. And the risk of it being on the list of Trans Books to Recommend really clinched it for me and confirmed that we needed to have this chat. Constance: I feel like this book was also a good bonding thing for us? So theres that. Jessica:  It was. So hey, still power of books! Constance: Yeah, part of why I want to be public about not liking this book is because I think it could end up on trans book lists. Jessica:    I want booksellers and librarians to know that this probably isnt a good choice for a display about religion or LGBTQ/trans fiction. Wed rather they go another way. Constance: Jess, this was a really good conversation thank you Jessica:  Thank YOU. I enjoyed this a lot. We should hate-read again some time. Constance: We need another trans/Mormon book to come out to hate-read together. Or a podcast, someone should give us a podcast Jessica:  Oh yes, that exciting and growing genre of trans/Mormon media. Well get right on that. Sign up to Unusual Suspects to receive news and recommendations for mystery/thriller readers. Thank you for signing up! Keep an eye on your inbox.

Compare and contrast two beliefs about life after death....

One definition of death is the the complete and permanent cessation of all vital functions in a living creature, the end if life. All philosophers agree that our earthly life in our physical form will end; however philosophers disagree on the meaning of end of life as many people agree on death as the end of our existence however while others argue that we continue in some form after death. Many ideas relating to our existence after death include; the continuation of our genes thought our descendants, immortality of the soul, resurrection of the body, reincarnation and the idea that we live on in memories of others. Many religious beliefs are based on the idea that humans possess a soul or spirit which exists independently of the body.†¦show more content†¦This survival would involve the resurrection of the body. Known as the Recreation Theory; this is the belief that the whole body continues after death. John Hick argued that in certain circumstances the dead can exist afte r death. If an exact replica of them were to appear complete with memories and characteristics. As God is all powerful this recreation of the dead is totally possible although death can destroy us God can recreate us. St Paul also talks about resurrection and about how the body will be raised and transformed into something better, something spiritual i.e. seed into plant. Identity the same but outcome is different. A problem raised with Hicks replica theory is a basic fundamental question. Is the same I that existed before death the same as the I in the replica, in the afterlife. Hick tried to solve the problem by putting forward hypothetical story of John Smith who lived in USA. One day, his friends watched as he disappeared without a trace. At the same moment of his disappearance a replica of Smith appeared in India exactly similar in both physical and mental characteristics to the person who disappeared in UAS. Concluding that John Smith died and God re-created John Smith in the next world and this re-created John Smith was the same person. Vardy challenges Hick. Would John Smith be the same person? Hick argues that he would if he thought ofShow MoreRelatedOrganisational Theory230255 Words   |  922 Pagesscholarly debates on modernism and postmodernism, and provides an advanced introduction to the heterogeneous study of organizations, including chapters on phenomenology, critical theory and psychoanalysis. Like all good textbooks, the book is accessible, well researched and readers are encouraged to view chapters as a starting point for getting to grips with the field of organization theory. 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Organizational Culture And Values On Strategic Leadership...

Organization’s Ethical and Value-Based Approach to Leadership Impact of the Organization’s Culture and Values on Strategic Leadership Organizational leadership and culture has been a major issue in today’s highly structured organizations. This has necessitated that organizations understand in depth the inter-relation between culture and organization on strategic leadership. Is it that the leadership determines culture or the culture determines leadership behaviors? While many argue that the leaders have absolute control and influence the direction of organizational culture, research actually shows that leaders themselves are greatly influenced by variables and situational setting in any organization, implying that it is valid to say that leadership itself receives significant influence from organizational culture (Waldner Weeks, 2006). Due to this, the effort to identify and understand how trends and traits making up organizational culture have been a priority amongst most organizations seeking to improve the effectiveness of strategic leadership. According to Schein (2004), the reason why such issues as culture and leadership is important stems from one of the critical factors, that is the fact that certain trends and traits are shared among a group hence forming a shared culture. Schein also explains other critical elements of culture such as structural stability. 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Description Paper on Gustav Klimt Free Essays

DESCRIPTION PAPER: ART INTO TEXT The purpose of this short paper is to hone your abilities in using words to describe and understand the physical qualities of a work of art. By writing about art, you will take on the responsibility of examining it closely, organizing your perceptions and thoughts about it, and conveying in text an organized and clear summary of your visual analysis. First, choose a work to examine. We will write a custom essay sample on Description Paper on Gustav Klimt or any similar topic only for you Order Now There is no limit to which work you may choose, except that it must date from within our time period (the year 1400 of the common era to the present). If you have concerns about your choice, consult the professor. Please do not choose a work that has been discussed extensively in class or in the textbook. You may choose a work that you can see first-hand in Hong Kong (at for instance the Hong Kong Museum of Art or the Hong Kong Heritage Museum, or a work of public sculpture). If you opt to do this, please identify where the object resides in your paper. If you desire to choose a work from the West or other places not immediately accessible, please find and utilize many reproductions of it, from as many different angles as possible, and with different levels of detail. Please attach relevant images to the end of your paper (do not include them in the text). After choosing the work, you will then spend considerable time examining it (no less than 30 minutes is recommended). Then, take notes on what you see. Describe the media, principles of design and visual elements that you find in the work. Think about how line, volume, scale, balance, and/or visual rhythm are used in the work, if appropriate. Pay attention to as much of the surface of the work as you can see. Do physical features of the work suggest the purpose of its creation, the meaning it is trying to communicate, or its use or original physical context? What can you infer about the culture that made this object from its physical features? Finally, compose a 2 to 4 page (double spaced, with regular fonts and margins) essay summarizing your findings. The bulk of the paper should be a well-organized description and formal analysis. You should organize this part of the paper logically, i. e. there should be an order to your description and analysis. Then, taking the features and relationships in the work that you find most compelling and important, assess its cultural meaning and/or significance based upon your observations. This should be your conclusion. Do not conduct research for this assignment. The focus here should be on honing your observational skills. You will be graded on clarity of writing and word choice (25%), organization (25%), thoroughness of observation (25%), and the plausibility of your conclusions based on evidence at hand (25%). Paper due in class on Monday, September 24, 2012. Penalties for not following instructions: Does not meet the page minimum: dropped a letter grade. Fonts and/or margins are oversized in order to meet page minimum: dropped five points. Illustrations are within the text rather than appended to the end: dropped a letter grade. Work chosen has been discussed in book or class extensively: dropped a letter grade. Research has been conducted: dropped two letter grades. Plagiary: automatic zero. Reuse of previously submitted material: automatic zero. Work is not within specified time period: dropped five points. Excessive redundancy/use of â€Å"filler†: points subtracted from thoroughness score. Farris’s rules of good formal nonfiction writing: Avoid use of first and second person pronouns (I, you, we, us). Avoid passive voice. Avoid redundancies, both in word use and content. Be sure of the meaning of a word before making use of it. Simplify phrasing in order to be direct about what you want to convey. Organize your thoughts before starting to write. When not writing dialogue, paragraphs must be at least three sentences long. Sentences in a paragraph should address a single subject. Avoid starting a sentence with a conjunction. Avoid contractions. Omit unnecessary words. Assess evidence, not subjective reaction. How to cite Description Paper on Gustav Klimt, Papers

The Cicada Many Things To Many People Essays (1662 words) - Cicadas

The Cicada: Many Things To Many People In this century of rapid scientific discovery, there still exist natural phenomena with the power to inspire wonder and mystery. The cicada, an insect known since ancient times, is one such phenomenon. Because scientific knowledge of the cicada contains many gaps, these mysterious insects can still stimulate our imagination or lead us into confusion. At the present time, the cicada is many things to many people: it is a curiosity that should be approached scientifically; it is a source of superstition and dread; it is also little more than an annoying, seasonal inconvenience. The cicada is a stout, black insect about an inch in length. Various species of this insect can be found all over North of the America. When the cicada is at rest, its large, transparent, veined wings are folded over the top of its body and extend about a quarter of an inch beyond it. Cicada wing veins are and information reddish orange in color, as are its eyes and legs. The front legs are sharp and crablike, allowing the animal to hold tight to the bark of trees. The species of American cicada most written about by scientists and most wondered about by the general public is known as the periodical cicada. Its scientific name is Magicicada septendecim. This species of cicada appears above ground only once every seventeen years. What the cicada does underground for most of its seventeen-year life span was a mystery until fairly recently. In the early part of this century, a man named C.L. Marlett, who worked for the United States Department of Agriculture, decided to find out. He began burying cicada eggs in his backyard and digging them up periodically for observation. He soon found out that the cicada begins life as a tiny nymph about six hundredths of an inch in length. A nymph is an immature insect, before it has fully developed wings or reproductive organs. During their sixteen years and ten and one-half months underground, cicada nymphs are nestled against tree roots from which they gently suck the juices. Nourished by this root sap, they begin to grow. They shed their skin four times before they reach adult size. Once matured, a cicada does not necessarily leave its underground nursery. All cicadas of the same generation in a region wait for a seventeenth spring before they come creeping forth from the ground as a group. The eeriness of this group effort has puzzled humans for centuries. People have responded to the mystery with a host of superstitions, educated guesses, and scientific theories. One of the earliest explanations for the mass appearance of cicada populations after their long absence in an area was that the insects had come to foretell war. This idea stems from an observation of the adult cicada shortly after it appears above ground. It immediately sheds its skin for the last time and begins to darken in color. Near the outer edge of its front wings, a black mark appears that looks distinctly like the letter W. Some thought this W stood for war. In the past, people who saw a group of cicadas emerge from the ground like an invading army were filled with panic. The sight was especially frightening because literally millions of insects can appear within an area of a few square miles. Later explanations for the mass appearance of cicadas stem from more scientific observations. Dr. L. L. Pechuman, a professor at the New York State College of Agriculture and Life Sciences at Cornell University, has suggested that coming above ground only once every seventeen years is an excellent way for a species to discourage its natural enemies. Perhaps the cicadas have evolved a special kind of biological time clock to protect them from predators. James Heath, an insect physiologist at the University of Illinois, theorizes that the cicadas all emerge at around the same time in a certain year because the soil has reached a temperature of 64 degrees. Theories like this have still not been proved absolutely, but they do a lot to dispel the fear, awe, or confusion experienced by many people who witness millions of cicadas surfacing at once. Once cicadas surface, they lose no time. At this point in

Mass Shootings and Related Issues of Race and Gender

Mass Shootings and Related Issues of Race and Gender â€Å"Sick,† â€Å"twisted,† â€Å"disturbed,† â€Å"psychotic,† â€Å"mentally ill,† â€Å"psychopath,† â€Å"acted alone.† These words  are familiar to anyone who pays attention to news accounts of mass shootings carried out by white males over the last three decades. Trouble is, none of these guys- Eliot Rodger, Adam Lanza, James Holmes, Jared Loughner, Anders Breivik in Norway, among others- really acted alone. While news accounts typically frame mass shootings by white males as the work of  deranged individuals, the actions of these  men and boys are expressive of widely held patriarchal and white supremacist beliefs. They are the manifestation of  a sick society. The  shooters who left digital trails have made it clear that their actions were prompted by their perceived loss of power and status in society. They felt slighted by women who do not obey them and their desires, by people of color and queer folks who have fought for, earned, and defended their civil rights, and by a society that doesn’t afford them the respect and place they believe they deserve by accident of their race and gender. They are the product of a changed and ever-changing social context in which historic forms of power and domination are being slowly but loudly destabilized, and of a society that socializes them to believe that this is wrong, and that they deserve to be in positions of power. Demographic Shifts in the U.S. and Anomie Among White Men​ Writing in 1897, sociologist Émile Durkheim popularized a theoretical concept that can be  usefully applied to understanding how this perceived problem of individuals is actually a social problem. Anomie, Durkheim explained, is a condition that results when the values and expectations of an individual do not match those that predominate in society. When an individual experiences anomie, they feel disconnected from their society; they feel destabilized. Anomie, per Durkheim, is a state of social derangement. Applying the theory of anomie to the phenomenon of white male shooters throws into relief the conditions of social derangement experienced by boys and men who take such action. White males, especially those with economic privilege relative to others, have historically lived at the top of the power hierarchy in the United States. They hold power in terms of their gender, their race, sometimes their class, and often, their sexuality. But, in today’s social context in which patriarchy, heteronormativity, white supremacy, and economic power have been destabilized by various social movements, legislation, and paradigm shifts in popular consciousness, their power over others is waning. With it, so too is their historically unjustly inflated social status. The Violent Death Grip of Patriarchy and White Supremacy This is not to say that patriarchy, heteronormativity, white supremacy, and economic control by white men are things of the past. These forms of domination live today in a wide variety of attitudes, values, beliefs, and practices. The actions of white male shooters make it fatally clear that the ideologies that undergird these forms of oppression are not only alive, but thriving today. They are expressed in their most overt and terrifying forms in the Youtube videos, chat logs, conversations, and manifestos of Anders Breivik, Elliot Rodger, and Jared Loughner, among others. They were expressed with violence and hatred in a rash of hate crimes against women, people of color, LGBT people, and immigrants following the 2016 presidential election. In this social context of anomie, shooting others is a desperate attempt to reclaim norms lost. It is an assertion of power that has been destabilized by the changing nature of society, its norms, and its values. Yet, the actions of white male shooters are couched within the larger social problem of a troubled masculinity that transcends race. Viewed through a wider lens, the connections between shootings perpetrated by white males and other forms of violent masculine expression, like street harassment, gendered and sexualized violence, hate crimes, gang violence, and white separatist and nationalist movements become clear. Society Needs Masculinity Rooted in Respect and Care for Others A social problem like this requires a social solution. Background checks and reforms to gun laws might reduce gun violence, but they will not stop other forms of violence that stem from a social sickness. Alleviating the social sickness of racism, and the gendered and heterosexist norms of patriarchy  is work that must be done collectively by all of us. We, as a society, must reconfigure what masculinity means, and cast off the dangerous values and expectations that we socialize boys to hold and express in their behavior. Curing this social sickness requires a new masculinity detached from notions of superiority, dominance, control, and compliance of others. It requires what the writers at Rad Dad advocate for in their call for a Feminist Fathers’ Day: a masculinity premised on respect and care for others.

Social Media Branding Guidelines How to Make Your Brand Memorable

Social Media Branding Guidelines How to Make Your Brand Memorable Have you ever noticed that sometimes brands will look and sound different on social media than they do on their blog or website? Social media can sometimes be an afterthought that is tacked on to a company’s strategy long after their original brand guidelines have been built. Instead, brands should have forward-thinking social media guidelines that help create a cohesive voice and experience across all of their social channels. In this post, you’re going to: Learn how to build out actionable social media branding guidelines.  With our downloadable social media branding kit, you’ll be able to put the advice from this blog straight into use by creating actionable guidelines that will show you step-by-step how to create a more memorable social media presence. Learn to cohesively combine your social media presence with your overarching brand guidelines.  You may already have your brand guidelines established, but how well do they really transfer over to your social media profiles?Often times, social media becomes an afterthought tacked on to a marketing strategy at the last minute. You’ll learn how to move those overarching guidelines seamlessly onto your social media profiles so that everything from your website to your Twitter profile creates the same experience for your customers. See examples of how brands are creating familiar experiences across their entire online presence.  Learn from the best and make it yours. We’ll show you examples of how brands are making the most of their social media profiles by creating great, cohesive profiles. How to Build Social Media Branding Guidelines That Will Make Your Brand MemorableDownload Your Social Media  Brand Style Guide  + Voice And Tone Templates Before you continue reading this post, download our social media branding kit. This kit has two different pieces that will allow you to flesh out your social media branding guidelines: Social Media Image Style Guide to keep your visual content on-point and on-brand every time you post. Voice and Tone Brainstorming Document to ensure every post captures the voice of your brand. Pretty slick, huh? Getting Started: Move Your Brand Voice And Tone Over To Your Social Media Channels Aren’t voice and tone the same thing? Not exactly. Your social media voice refers to what you sound like on your social media sites. Are you funny or sarcastic? Witty or professional? Your tone, on the other hand, refers to how you say things. For example, if I were to say I need an email sent, it doesn’t mean much; however, if I were to yell that same phrase, it would trigger a much different response because my tone changed. Recommended Reading: The Best Social Media Copywriting Guide to Be A Social Work Ninja Everything Good Comes In Threes, Right? For the first part of this brainstorming process, I want you to think about three adjectives that could describe your business. Think about a popular brand like Under Armour. What three words would you use to describe that brand? Athletic, powerful, and dynamic are what I think of. For example, take a look at one of their recent Instagram posts. This campaign was directed at their audience reminding them that women can be so much more than a pretty face. The photo is incredibly dynamic, displaying the power of the woman in the photograph. Pretty capable of conquering this. #ImPretty Create your own statement like this. Hit link in bio. A post shared by Under Armour (@underarmour) on Mar 15, 2017 at 7:38am PDT In case you are really stumped, here is a list of descriptive adjectives to help you get started: In your brainstorming document that you downloaded earlier is a spot where you can record all of those adjectives in one place. Once you pick a set of three, hold on to them, you’ll need them later. Develop Your Voice The second part of your brainstorming session is to think about how your brand sounds across the different points your customer accesses your company. How do you sound on your website? How about your blog? If you have a set of brand guidelines that your company operates by, I would pull those out. More often than not, a company will define their voice and tone within their branding guide. In that section, a general definition should appear of what the brand should sound like as a whole. If you don’t have brand guidelines developed, look at your website and blog. What do you sound like? Are you funny? Witty? Serious? Seeing how you already talk with your audience can help you develop your voice for social media. For example, MailChimp has published their content style guidelines online, which contains a short paragraph describing what the voice of MailChimp  should sound like. MailChimp continues that development and begins to describe how that voice is going to come across online.  They are: Fun but not silly Confident but not cocky Helpful but not overbearing These defining characteristics help MailChimp figure out exactly what their voice is and what it isn’t. Now you’re going to do the same thing on your brainstorming worksheet. Write down ten â€Å"We are this but not that† statements that will help your company achieve your defined voice. Your voice is fun but not what? You are not rude but instead, you are ... what? Fill in that worksheet with all the do’s and don’t you think your company voice will need. Develop Your Tone The next step in your social media branding process is to create your social media tone. How do you want to come across to your followers? Sarcastic like Wendy’s? Introducing Wendy’s new Strawberry Mango Salad. Because you probably don’t have a private garden with all kinds of fresh ingredients. pic.twitter.com/ZaH3pamfkO - Wendy's (@Wendys) June 6, 2017 Feel-good like Disney? Or professional like Microsoft? Follow along with our #MicrosoftEvent in Shanghai starting at 11AM GMT Tuesday, May 23 by clicking the link in our bio. A post shared by Microsoft (@microsoft) on May 22, 2017 at 2:16pm PDT There are unlimited options, which means that you’ll have a more cohesive presence and experience if the voice on all your channels are on the same page. The best thing to think about when you’re creating your tone is â€Å"how do you want your audience to read your social media messages†? Let’s continue looking at MailChimp. They break down their tone by saying that they are informal, meaning they're not afraid to share a joke every once in a while, but they should always be clear in their social media posts. So how do you create your tone in your social media branding guidelines? First answer the following questions, on a scratch paper or in your brainstorming document. How do we want our audience to read our social media messages? What is the tone of our typical message? What is the tone of our more infrequent messages? Are we going to include slang or popular jargon? What are the feelings we want our customers to have when they read our posts? After you’ve answered these questions you can begin to fill in the pre-set paragraph in your voice and tone brainstorming document. Feel free to edit, add or remove text as needed. We’ve also included a short example for a fictional company to help you get started. Before we continue on to the next step, it is important to mention a key factor when it comes to social media tone. The tone of your social messages is going to vary much more than voice. Your tone can change at a moments notice, whether you’re responding to an angry customer or a national disaster. Keep this in mind when you create your social guidelines document. Define Your Voice and Tone This is the last part of your voice and tone brainstorming exercise. Now that you know what your voice and tone sound like, it’s time to define them in one short, all-encompassing sentence. For example, MailChimp’s voice is defined by saying that it is human, friendly, and straightforward. Your sentence could contain the three adjectives you came up with earlier or summarize what you think are the most vital goals of your company. It’s all up to you. That’s all you need to do to transfer your original voice and tone guidelines to your social media accounts. That wasn’t too bad, was it? Let’s move on to images and videos. Social Media Branding Guidelines How to Make Your Brand Memorable Have you ever noticed that sometimes brands will look and sound different on social media than they do on their blog or website? Social media can sometimes be an afterthought that is tacked on to a company’s strategy long after their original brand guidelines have been built. Instead, brands should have forward-thinking social media guidelines that help create a cohesive voice and experience across all of their social channels. In this post, you’re going to: Learn how to build out actionable social media branding guidelines.  With our downloadable social media branding kit, you’ll be able to put the advice from this blog straight into use by creating actionable guidelines that will show you step-by-step how to create a more memorable social media presence. Learn to cohesively combine your social media presence with your overarching brand guidelines.  You may already have your brand guidelines established, but how well do they really transfer over to your social media profiles?Often times, social media becomes an afterthought tacked on to a marketing strategy at the last minute. You’ll learn how to move those overarching guidelines seamlessly onto your social media profiles so that everything from your website to your Twitter profile creates the same experience for your customers. See examples of how brands are creating familiar experiences across their entire online presence.  Learn from the best and make it yours. We’ll show you examples of how brands are making the most of their social media profiles by creating great, cohesive profiles. How to Build Social Media Branding Guidelines That Will Make Your Brand MemorableDownload Your Social Media  Brand Style Guide  + Voice And Tone Templates Before you continue reading this post, download our social media branding kit. This kit has two different pieces that will allow you to flesh out your social media branding guidelines: Social Media Image Style Guide to keep your visual content on-point and on-brand every time you post. Voice and Tone Brainstorming Document to ensure every post captures the voice of your brand. Pretty slick, huh? Getting Started: Move Your Brand Voice And Tone Over To Your Social Media Channels Aren’t voice and tone the same thing? Not exactly. Your social media voice refers to what you sound like on your social media sites. Are you funny or sarcastic? Witty or professional? Your tone, on the other hand, refers to how you say things. For example, if I were to say I need an email sent, it doesn’t mean much; however, if I were to yell that same phrase, it would trigger a much different response because my tone changed. Recommended Reading: The Best Social Media Copywriting Guide to Be A Social Work Ninja Everything Good Comes In Threes, Right? For the first part of this brainstorming process, I want you to think about three adjectives that could describe your business. Think about a popular brand like Under Armour. What three words would you use to describe that brand? Athletic, powerful, and dynamic are what I think of. For example, take a look at one of their recent Instagram posts. This campaign was directed at their audience reminding them that women can be so much more than a pretty face. The photo is incredibly dynamic, displaying the power of the woman in the photograph. Pretty capable of conquering this. #ImPretty Create your own statement like this. Hit link in bio. A post shared by Under Armour (@underarmour) on Mar 15, 2017 at 7:38am PDT In case you are really stumped, here is a list of descriptive adjectives to help you get started: In your brainstorming document that you downloaded earlier is a spot where you can record all of those adjectives in one place. Once you pick a set of three, hold on to them, you’ll need them later. Develop Your Voice The second part of your brainstorming session is to think about how your brand sounds across the different points your customer accesses your company. How do you sound on your website? How about your blog? If you have a set of brand guidelines that your company operates by, I would pull those out. More often than not, a company will define their voice and tone within their branding guide. In that section, a general definition should appear of what the brand should sound like as a whole. If you don’t have brand guidelines developed, look at your website and blog. What do you sound like? Are you funny? Witty? Serious? Seeing how you already talk with your audience can help you develop your voice for social media. For example, MailChimp has published their content style guidelines online, which contains a short paragraph describing what the voice of MailChimp  should sound like. MailChimp continues that development and begins to describe how that voice is going to come across online.  They are: Fun but not silly Confident but not cocky Helpful but not overbearing These defining characteristics help MailChimp figure out exactly what their voice is and what it isn’t. Now you’re going to do the same thing on your brainstorming worksheet. Write down ten â€Å"We are this but not that† statements that will help your company achieve your defined voice. Your voice is fun but not what? You are not rude but instead, you are ... what? Fill in that worksheet with all the do’s and don’t you think your company voice will need. Develop Your Tone The next step in your social media branding process is to create your social media tone. How do you want to come across to your followers? Sarcastic like Wendy’s? Introducing Wendy’s new Strawberry Mango Salad. Because you probably don’t have a private garden with all kinds of fresh ingredients. pic.twitter.com/ZaH3pamfkO - Wendy's (@Wendys) June 6, 2017 Feel-good like Disney? Or professional like Microsoft? Follow along with our #MicrosoftEvent in Shanghai starting at 11AM GMT Tuesday, May 23 by clicking the link in our bio. A post shared by Microsoft (@microsoft) on May 22, 2017 at 2:16pm PDT There are unlimited options, which means that you’ll have a more cohesive presence and experience if the voice on all your channels are on the same page. The best thing to think about when you’re creating your tone is â€Å"how do you want your audience to read your social media messages†? Let’s continue looking at MailChimp. They break down their tone by saying that they are informal, meaning they're not afraid to share a joke every once in a while, but they should always be clear in their social media posts. So how do you create your tone in your social media branding guidelines? First answer the following questions, on a scratch paper or in your brainstorming document. How do we want our audience to read our social media messages? What is the tone of our typical message? What is the tone of our more infrequent messages? Are we going to include slang or popular jargon? What are the feelings we want our customers to have when they read our posts? After you’ve answered these questions you can begin to fill in the pre-set paragraph in your voice and tone brainstorming document. Feel free to edit, add or remove text as needed. We’ve also included a short example for a fictional company to help you get started. Before we continue on to the next step, it is important to mention a key factor when it comes to social media tone. The tone of your social messages is going to vary much more than voice. Your tone can change at a moments notice, whether you’re responding to an angry customer or a national disaster. Keep this in mind when you create your social guidelines document. Define Your Voice and Tone This is the last part of your voice and tone brainstorming exercise. Now that you know what your voice and tone sound like, it’s time to define them in one short, all-encompassing sentence. For example, MailChimp’s voice is defined by saying that it is human, friendly, and straightforward. Your sentence could contain the three adjectives you came up with earlier or summarize what you think are the most vital goals of your company. It’s all up to you. That’s all you need to do to transfer your original voice and tone guidelines to your social media accounts. That wasn’t too bad, was it? Let’s move on to images and videos. Social Media Branding Guidelines How to Make Your Brand Memorable Have you ever noticed that sometimes brands will look and sound different on social media than they do on their blog or website? Social media can sometimes be an afterthought that is tacked on to a company’s strategy long after their original brand guidelines have been built. Instead, brands should have forward-thinking social media guidelines that help create a cohesive voice and experience across all of their social channels. In this post, you’re going to: Learn how to build out actionable social media branding guidelines.  With our downloadable social media branding kit, you’ll be able to put the advice from this blog straight into use by creating actionable guidelines that will show you step-by-step how to create a more memorable social media presence. Learn to cohesively combine your social media presence with your overarching brand guidelines.  You may already have your brand guidelines established, but how well do they really transfer over to your social media profiles?Often times, social media becomes an afterthought tacked on to a marketing strategy at the last minute. You’ll learn how to move those overarching guidelines seamlessly onto your social media profiles so that everything from your website to your Twitter profile creates the same experience for your customers. See examples of how brands are creating familiar experiences across their entire online presence.  Learn from the best and make it yours. We’ll show you examples of how brands are making the most of their social media profiles by creating great, cohesive profiles. How to Build Social Media Branding Guidelines That Will Make Your Brand MemorableDownload Your Social Media  Brand Style Guide  + Voice And Tone Templates Before you continue reading this post, download our social media branding kit. This kit has two different pieces that will allow you to flesh out your social media branding guidelines: Social Media Image Style Guide to keep your visual content on-point and on-brand every time you post. Voice and Tone Brainstorming Document to ensure every post captures the voice of your brand. Pretty slick, huh? Getting Started: Move Your Brand Voice And Tone Over To Your Social Media Channels Aren’t voice and tone the same thing? Not exactly. Your social media voice refers to what you sound like on your social media sites. Are you funny or sarcastic? Witty or professional? Your tone, on the other hand, refers to how you say things. For example, if I were to say I need an email sent, it doesn’t mean much; however, if I were to yell that same phrase, it would trigger a much different response because my tone changed. Recommended Reading: The Best Social Media Copywriting Guide to Be A Social Work Ninja Everything Good Comes In Threes, Right? For the first part of this brainstorming process, I want you to think about three adjectives that could describe your business. Think about a popular brand like Under Armour. What three words would you use to describe that brand? Athletic, powerful, and dynamic are what I think of. For example, take a look at one of their recent Instagram posts. This campaign was directed at their audience reminding them that women can be so much more than a pretty face. The photo is incredibly dynamic, displaying the power of the woman in the photograph. Pretty capable of conquering this. #ImPretty Create your own statement like this. Hit link in bio. A post shared by Under Armour (@underarmour) on Mar 15, 2017 at 7:38am PDT In case you are really stumped, here is a list of descriptive adjectives to help you get started: In your brainstorming document that you downloaded earlier is a spot where you can record all of those adjectives in one place. Once you pick a set of three, hold on to them, you’ll need them later. Develop Your Voice The second part of your brainstorming session is to think about how your brand sounds across the different points your customer accesses your company. How do you sound on your website? How about your blog? If you have a set of brand guidelines that your company operates by, I would pull those out. More often than not, a company will define their voice and tone within their branding guide. In that section, a general definition should appear of what the brand should sound like as a whole. If you don’t have brand guidelines developed, look at your website and blog. What do you sound like? Are you funny? Witty? Serious? Seeing how you already talk with your audience can help you develop your voice for social media. For example, MailChimp has published their content style guidelines online, which contains a short paragraph describing what the voice of MailChimp  should sound like. MailChimp continues that development and begins to describe how that voice is going to come across online.  They are: Fun but not silly Confident but not cocky Helpful but not overbearing These defining characteristics help MailChimp figure out exactly what their voice is and what it isn’t. Now you’re going to do the same thing on your brainstorming worksheet. Write down ten â€Å"We are this but not that† statements that will help your company achieve your defined voice. Your voice is fun but not what? You are not rude but instead, you are ... what? Fill in that worksheet with all the do’s and don’t you think your company voice will need. Develop Your Tone The next step in your social media branding process is to create your social media tone. How do you want to come across to your followers? Sarcastic like Wendy’s? Introducing Wendy’s new Strawberry Mango Salad. Because you probably don’t have a private garden with all kinds of fresh ingredients. pic.twitter.com/ZaH3pamfkO - Wendy's (@Wendys) June 6, 2017 Feel-good like Disney? Or professional like Microsoft? Follow along with our #MicrosoftEvent in Shanghai starting at 11AM GMT Tuesday, May 23 by clicking the link in our bio. A post shared by Microsoft (@microsoft) on May 22, 2017 at 2:16pm PDT There are unlimited options, which means that you’ll have a more cohesive presence and experience if the voice on all your channels are on the same page. The best thing to think about when you’re creating your tone is â€Å"how do you want your audience to read your social media messages†? Let’s continue looking at MailChimp. They break down their tone by saying that they are informal, meaning they're not afraid to share a joke every once in a while, but they should always be clear in their social media posts. So how do you create your tone in your social media branding guidelines? First answer the following questions, on a scratch paper or in your brainstorming document. How do we want our audience to read our social media messages? What is the tone of our typical message? What is the tone of our more infrequent messages? Are we going to include slang or popular jargon? What are the feelings we want our customers to have when they read our posts? After you’ve answered these questions you can begin to fill in the pre-set paragraph in your voice and tone brainstorming document. Feel free to edit, add or remove text as needed. We’ve also included a short example for a fictional company to help you get started. Before we continue on to the next step, it is important to mention a key factor when it comes to social media tone. The tone of your social messages is going to vary much more than voice. Your tone can change at a moments notice, whether you’re responding to an angry customer or a national disaster. Keep this in mind when you create your social guidelines document. Define Your Voice and Tone This is the last part of your voice and tone brainstorming exercise. Now that you know what your voice and tone sound like, it’s time to define them in one short, all-encompassing sentence. For example, MailChimp’s voice is defined by saying that it is human, friendly, and straightforward. Your sentence could contain the three adjectives you came up with earlier or summarize what you think are the most vital goals of your company. It’s all up to you. That’s all you need to do to transfer your original voice and tone guidelines to your social media accounts. That wasn’t too bad, was it? Let’s move on to images and videos.

Approaches to studying climate disease connection; policy implications Assignment

Approaches to studying climate disease connection; policy implications of health, climate, extreme weather - Assignment Example There also exist the climate-inspired predictive approaches of transmission of diseases deemed infectious. Each approach adds value to the expansion of the inter-field efforts that aim to highlight influence of climatic changes and intense weather patterns on distribution of infectious diseases and trends of transmission. Chapter 4 analyses the implications of policies formulated and implemented in relation to the health effects of climatic changes and extreme weather occurrences. These policies are based on the basis of human mobility and patterns of migration of infectious diseases and as expected, the policies and mitigation efforts need to adopt more process-connected approaches rather than reaction/outcome based approaches. However, challenges touch on the public health implementations that seek to address climatic change implications and long overdue spotlight on single-disease threats as opposed to ‘long-term and systematic stresses’ that yield wide ranges of health implications. The above named website was created by the Climate Change Connection which is a Non-Governmental Organization that aims at educating people about climatic changes and also facilitates climate dynamic

What does Benedict Anderson's concept imagined community mean when Essay

What does Benedict Anderson's concept imagined community mean when comparing the idea of nationalism - Essay Example The process of Anderson’s imagined community is fundamental in understanding the elements of entry and connection in nationalism. It transcends the idea that nationhood is fabricated or merely imaginary discourses. This is the reason why the concept of imagined community is very popular among social theorists. The thesis is not that explicitly constructivist but the idea captures the intensity of the concepts such as nationalism and nationhood. As an imagined community, a nation is provided a narrative meaning for individuals that constitute it by allowing the imagination of a territory of the nation without having personally to encounter it and its inhabitants. The approach does not see nationalism as a discourse of power or one of ideology but one of cultural meaning and cognition. In imagined community†, gaps could still be found – there are limitations in regard to the explanation of the elements that characterize the concept. Indeed, Anderson, himself, have l eft open several areas and questions because the subject is dynamic. However, these do not entirely undermine the potency of Anderson’s vision. All in all, Anderson’s most significant contribution here is that he was able to address all the anomalies that most theorists have created or was not able to tackle in defining nationalism.

Free Euthanasia Essays: Hospice and Physician-Assisted Suicide :: Euthanasia Physician Assisted Suicide

Hospice and Assisted Suicide/Euthanasia One Work Cited This essay will present the views of that worldwide organization named Hospice which has seen the quiet, natural death of millions of terminally ill patients - without the use of physician-assisted suicide. It is important that the voice of the largest caregiver for the terminally ill be heard, and listened to attentively. For they have the most experience. The Hemlock Society is nothing (in scope, importance, goals)in comparison to this great Hospice Organization (HO). Hospice professionals and caregivers have given the issue of physician-assisted suicide much thought and consideration in recent years, and adopted an organizational position on the issue as early as February of 1992. Last year, when the debate increased in intensity, the HO not only reaffirmed its earlier position, but strengthened it. The Organization's Resolution clearly states, "That assisted suicide is not a component of hospice care; ..." and "That the Hospice Organization does not support the legalization of voluntary euthanasia or assisted suicide in the care of the terminally ill." Hospice workers, likely more than any other group of care providers, deal with the desperation that many individuals feel when they accept the fact that their illness is likely to be the cause of their death. In that process, hospice staff deal not only with the physical pain of the illness, but also the emotional pain of facing leaving one's family, the social pain of enduring what may be considered indignities, and the spiritual pain associated with one's cultural and personal beliefs about life after death. Through an interdisciplinary approach that is unique to hospice care, patients who elect hospice receive treatment for all their concerns. Hospice caregivers have discovered three central reasons a terminally ill person may want to discuss suicide. One is a fear of uncontrolled pain. Another is fear of abandonment, of being left alone to die and feeling there is no one to care. The third is concern over financial pressures that may leave a family devastated by the last illness. Hospice addresses these concerns as quickly in the disease process as is possible, and hospice workers everywhere will tell the public that when these issues are under control, the desire to end one's life becomes a non-issue. Hospice workers dedicate their professional and often their personal lives to successfully resolving those issues. The hospice community is very concerned that the legalization of

Benign Paroxysmal Positional Vertigo Health And Social Care Essay

Context: Benign paroxysmal positional dizziness ( BPPV ) is characterized by brief enchantments of dizziness, sickness and/or positional nystagmus during head positional motions, and may impact on patientis activity of day-to-day lifes. Purposes: The intent of this survey was to find the efficaciousness of using postural limitations after Epley manoeuvre on curative success in patients with posterior semicircular canal BPPV ( p-BPPV ) . Puting and Design: The survey was conducted among 53 patients with p-BPPV between the ages of 27 and 68 old ages old, at Khatamol Anbia infirmary in Zahedan metropolis, Iran. Materials and Methods: At first, patients who complained of positional dizzinesss were examined by Dix-Hallpike manoeuvre to find the being of p-BPPV and so, Epley manoeuvre was performed for them. These patients were indiscriminately divided in two groups based on the prescribed postural limitations after Epley manoeuvre, one group with postural limitations and the 2nd with no limitations. Datas Analysis: Chi-square trial was performed to compare two groups ‘ results. Consequences: Consequences did non demo any important difference between with and without limitation groups. Decision: In general, despite of earlier suggestions about reding postural limitation after Epley manoeuvre for patients with p-BPPV, the present survey showed that these instructions had no important consequence on the patients ‘ intervention results. Hence, as using any limitation might has a direct consequence on patients ‘ quality of life, so this issue should be noticed in intervention plans for patients with p-BPPV. Keywords: Benign paroxysmal positional dizziness, Dix-Hallpike manoeuvre, Epley manoeuvre, Postural limitation, dizziness. Introduction Benign paroxysmal positional dizziness ( BPPV ) is one of the most common diseases of the interior ear, reported in the literature as being responsible for about 17 % of the clinical diagnosings of giddiness [ 1 ] and was foremost described in 1921 by Barany [ 2 ] . It is characterized by brief onslaughts of dizziness, sickness and/or positional nystagmus during caput motions. Vertigo enchantment makes a obscure feeling of floating-like giddiness and may go on for hours, or even yearss. The perennial nature and clinical badness of BPPV may impact the patientis activity of day-to-day lifes [ 3 ] . BPPV may be found in all age ranges, but it increases with aging and its extremum of incidence is within 50 and 70 old ages [ 4 ] . BPPV may be resulted from job in any semicircular canal ( SCC ) , and most often from the posterior semicircular canal ( p-SCC ) [ 2 ] . In this instance, dizziness largely is manifested when lying down in bed and particularly, with caput rotary motion to affect ed side. The natural clinical class of BPPV is self-limited and by and large does non react to antivertigo drugs. Dix and Hallpike in 1952 described in item the marks and symptoms of BPPV ( the descriptive term of ibenign paroxysmal positioning vertigoi foremost used by these writers ) . They besides proposed the Dix-Hallpike manoeuvre to arouse the dizziness onslaught and corroborate the diagnosing [ 2 ] . There are assorted interventions for BPPV including ; the canalith repositioning process ( CRP ) , libratory manoeuvres, Semont manoeuvre, vestibular addiction preparation, and surgical interventions such as remarkable neurectomy or occlusion of posterior semicircular canal [ 2 ] . The most common manoeuvre is the CRP or Epley manoeuvre which is based on the canalolithiasis theory [ 6 ] . There is some contention about the rate of intervention effects by Epley manoeuvre in different surveies [ 7-18 ] .This variableness might be caused by different techniques used in these surveies. Significant differences in these techniques are ( 1 ) placement and intermission continuance in each place, ( 2 ) the usage of mastoid oscillation, and ( 3 ) postural limitation after manoeuvre. Some writers proposed using postural limitations after Epley manoeuvre to forestall symptoms ‘ backslidings. In this instance the patient is instructed to avoid caput and bole motion, utilizing a cervix neckband and kiping in semi-seated place, with the caput inclined at 45 grade from the horizontal program for two yearss. Then, in the 5 subsequent yearss, the patient is instructed to avoid sleeping over the affected ear. However, there are some contentions about the efficaciousness of these postural limitations on meeting intervention ends in patients with BPPV [ 9-14 ] . This survey was done to look into the efficaciousness of using postural limitations after Epley manoeuvre on curative success in patients with p-BPPV in Zahedan, the centre of Sistan and Baluchestan state at southeasterly Iran. MATERIALS AND METHODS -Subjects and Procedure This survey was performed from March 2005 to September 2007, in rhinolaryngology clinic of Khatamol Anbia infirmary in Zahedan metropolis. Otologic, neurologic and audiometric scrutinies were performed on patients who ab initio reported vertigo symptoms. Then, Dix-Hallpike trial was performed for diagnosing of p-BPPV on these patients except for whom with history of drug intervention. Besides, presence of nystagmus was detected by have oning a Frenzle Glasses during Dix-Hallpike trial. The Dix-Hallpike manoeuvre was done by an experient clinician while patient sitting on the bed. Then the clinician rotated the patient ‘s caput to one side, and quickly changed his/her sitting place to a lying one, while caput hanging 45 degree below skyline, with each ear alternately undermost [ Figure – 1 ] . A positive response was considered when a explosion of dizziness accompanied by a characteristic nystagmus of p-SCC. 57 patients icluding 31 female and 26 male with the ages from 27 to 68 old ages old ( Mean ; 43 ) who had positive Dix-Hallpike partcipated in the survey. Then, the patients were indiscriminately assigned in two groups based on the considered intervention method. -Treatment method CRP begins with the patient sitting on the scrutiny tabular array with the caput turned 45 grade to the affected ear. Then the patientis organic structure is rapidly brought backwards, into a little head-hanging place, maintaining the caput turned to the same side. The following phase includes revolving the caput easy towards the unaffected ear, which is now undermost. Then the patient is rolled to a side-lying place with the caput turned 45 grade more towards the same ( unaffected ) ear and downward to the floor. Finally, the patient is brought easy back to the sitting place [ Figure – 2 ] . Harmonizing to the intervention method, the patients in this survey were indiscriminately assigned in two groups ; first group including 29 patients who recived postural limitations after Epley manoeuvre and the 2nd group dwelling of 28 patients who had no limitations after the manoeuvre. Then, one hebdomad after intervention manoeuvre, the patients were followed up and evaluated once more utilizing the Dix-Hallpike trial by another tester. Besides there was losing of 3 patients from the first and 1 from 2nd group due to non coming back for rating. Finally, negative Dix-Hallpike ( symptomless ) was considered merely for patients who had no dizziness symptoms and nystamus This survey was confirmed by the local ethic commission and the informed consent was taken from all topics. Statistical analysis Statistical analysis was performed by Chi-square trial to compare between group differences. Consequences Distribution of the patients in two groups has been shown based on the gender and affected ear in [ Table, 1 ] . 84 per centum of the patients in the first group ( group with limitations ) and 78 per centum of the 2nd group patients ( group without limitations ) were improved after intervention and their Dix-Hallpike trial was negative ( symptomless ) . The post-maneuver consequences for two groups are indicated in [ Table, 2 ] . However, the intervention outcomes did non demo a statistically important difference between two groups ( P & gt ; 0.05 ) . Discussion In general, this survey was conducted to look into the efficaciousness of using postural limitation after Epley manoeuvre in patients with p-BPPV. Our survey findings were similar to the surveies conducted by Nuti, 2000 [ 11 ] , Simoceli, 2004 [ 14 ] , Moon & A ; Gananca, 2005 [ 10 ] , [ 12 ] . In their surveies, Nuti and collegues Epley manoeuvre for p-BPPV patients alonghwith some postural limitations and concluded that these limitations have no consequence upon intervention end products. [ 11 ] Besides, a survey conducted by Simoceli et al [ 14 ] showed that Post-maneuver limitations do non heighten the efficaciousness of Epley Maneuver for BPPV management.Our findings is similar to this survey, with this presentment that patients in Simoceli et Al survey were reassessed during 72 +/- 24 hours after manoeuvre. Consequences of the survey by Gananca et al [ 12 ] showed that utilizing from postural limitations in patients with p-BPPV did non act upon on their result steps, one hebdomad after a alone Epley manoeuvre. Moon et al [ 10 ] used modified Epley in intervention of p-BPPV and prescribed postural limitation after this manoeuvre. Besides, their findings showed that using postural limitation did non hold a important consequence on the concluding intervention results for p-BPPV patients. Burak in 2006, investigated the efficaciousness of postural limitation after modified Epley manoeuvre in handling p-BPPV. Consequences showed that postural limitation enhances the curative consequence of the modified Epley manoeuvre in the intervention of p-BPPV and should be applied in immune instances. [ 13 ] Although both groups were improved by having Epley Maneuver, this survey showed that adding postural limitations after Epley manoeuvre had no more important effects on patients with p-BPPV. Therefore, as using limitation, might attach to with restrictions in patientis activity of day-to-day life and burthen some unneeded undertakings on patients and his/her household, so this issue should be noticed by doctors in be aftering intervention for patients with p-BPPV.

Sociology and Deviance in a Society of Saints Crime Will...

Imagine a ‘society of saints’, without crime, a notion put forward by Emile Durkheim a historical theorist who argued that this concept is unattainable within society. Social control is and has been present in all societies, organized groups, and cultures since the beginning of time. There are many historical and modern perspectives, which help draw conclusions on the study of deviance and social control, two concepts that go hand in hand. In discussing the connection between social control and deviance, it will reveal why Durkheim’s notion, that in a ‘society of saints’, crime will be found, is very true. Deviance is a word that has instinctively bad connotations around it, to know someone that is deviant is to know someone who has acted†¦show more content†¦The instinctive nature of humans to judge one another and the natural instinct to socialize will always play a role in making sure society is made up of all people either deviant or virtuous. Socialization and the power to control, or deviate outside a particular group norm, will always ensure a ‘society of saints’ is not an achievable goal. Based on Howard Becker’s symbolic or labeling theory, all acts of deviance and the person seen to be acting in a deviant manner are given labels. These labels generally come from someone in there community or group who are in hierarchy or authority figure. That means no action is deviant unless specified by the particular community or group (Bessant Watts 2002). Becker’s labeling theory concentrates on the lower class, and anything apart from what the group expects is labeled as deviant. The term Once a criminal always a criminal is familiar, it is these type of labels that maybe detrimental in terms of a person internalizing labels as truth, and how others sees them (D. Conley 2008). The labels and or judgments given negatively, isolate the person from the group, and may hinder the person’s opportunity to reach their full potential. The strains put on a person to conform to the particular cultures norms and values, does not allow any person to differ in nature or thought. When one is pressured to perform in ways that may be foreign orShow MoreRelatedHomosexuality and University Press5666 Words   |  23 Pagescalled minority (black and women’s) studies and now gender studies. Most of the disciplines involved belong to the humanities and social sciences: language and literature, history, cultural and communication studies, sociology, anthropology and political sciences, philosophy. Sociology had a late start although some of the key figures in the field were sociologists (Mary McIntosh, Ken Plummer, Jeffrey Weeks), but their work was seen as primarily historical. Michel Foucault made a major imprint withRead MoreFootball Hooliganism11213 Words   |  45 Pagesteams of Europe were the dominators of all the sports that were being played in the world. However, when the players from the colonized African nations started competing in the same leagues and football clubs as the white players, the white players found it very hard to accep t the fact that players from the enslaved nations of Africa could play as well as them or even better. Another factor that contributed to the hatred among players of the different teams was pride. Specifically in Europe, fans haveRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesEffective versus Successful Managerial Activities 8 †¢ A Review of the Manager’s Job 9 Enter Organizational Behavior 10 Complementing Intuition with Systematic Study 11 Disciplines That Contribute to the OB Field 13 Psychology 14 †¢ Social Psychology 14 †¢ Sociology 14 †¢ Anthropology 14 There Are Few Absolutes in OB 14 Challenges and Opportunities for OB 15 Responding to Economic Pressures 15 †¢ Responding to Globalization 16 †¢ Managing Workforce Diversity 18 †¢ Improving Customer Service 18 †¢ Improving People