Scarlet Letter Chapter 8 Essay Example

Scarlet Letter Chapter 8 Paper Jeremiah Young Period-2nd 11/6/12 Chapter 8 At the beginning of chapter 8, Hawthorne brings back the main characters from the first scaffold scene; Hester, Pearl, Dimmesdale, and Chillingworth; as well as representatives of the Church and the State. Also, that underneath the surface action, Hawthorne offers several strong hints concerning the difficult relationships of his characters. In Hesters pleading to Dimmesdale for help, in Pearls solemnly caressing his hand, and in the ministers kiss give you solid hints that Dimmesdale is Pearls father. Hester calls on her inner strength in her attempt to keep Pearl. She argues that the scarlet letter is a badge of shame to teach pearl a lesson and help her benefit from Hesters sin. However, Pearls refusal to answer the question causes the decision of the Church and the State to go against her. Now Hesters only appeal is to Dimmesdale, the man whose reputation she could crush. Pearl once again reveals her wild and passionate nature. In saying that her mother plucked her from the wild roses that grew by the prison door, she goes against both the Church and State. While such an answer seems intelligent for a small child, the reader must remember that Hawthorne uses character symbolism to present meaning. We will write a custom essay sample on Scarlet Letter Chapter 8 specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Scarlet Letter Chapter 8 specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Scarlet Letter Chapter 8 specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Pearls action brings back Hesters audacity on the scaffold when she refuses to name the father of her child. The dual nature of Pearls existence as both happiness and torture is restated in Hesters plea, and this point is taken up by Dimmesdale. The ministers weakened condition and his obvious nervousness suggest how terribly he has been suffering with his latent guilt. Nevertheless, Dimmesdale adds to Hesters plea when he states that Pearl is a child of its fathers guilt and its mothers shame but still she has come from the hand of God. As such, she should be considered a blessing. The minister argues that Pearl will keep Hester from the powers of evil. And so she is allowed to keep her daughter. Those powers of evil can be seen in both the strange conversation with Mistress Hibbins and also in the change in Chillingworth. As if to prove that Hester will be kept from evil by Pearl, Hawthorne adds the scene with Mistress Hibbins. While Mr. Wilson says of Pearl, that little baggage has witchcraft in her, Hester says she would willingly have gone with the Black Man except for Pearl. These evil powers are also suggested by the fourth main character, Chillingworth. The change noted by Hester in Chillingworths physical appearance, now more ugly and dark and misshapen, is a hint that in Chillingworths desire for revenge, evil is winning the battle within him and is reflected in his outward appearance. That Chillingworth is Dimmesdales personal physician and supposedly his friend gives him the opportunity to apply psychological pressure on the minister. Chillingworths comment on Dimmesdales strange earnestness and his statement that he could make a shrewd guess at the father suggest that he may already have decided on Dimmesdales guilt.

The Complete History of Hip Hop

The Complete History of Hip Hop SAT / ACT Prep Online Guides and Tips Although widely synonymous with rap music today, hip-hop actually got its start as a full-on cultural movement in the 1970s. For the first few decades that the term was around, hip-hop wasn’t just about music: it also referred to art, style, dance, and philosophy. In this article, we cover the full history of hip hop dance and music and include a helpful hip hop history timeline for reference. Origins of Hip Hop Hip hop (or hip-hop, the two can be used interchangeably) began as a culture and art movement in the Bronx, where demographics were rapidly shifting in the early 1970s. During the 1950s and 60s, many white, middle-class people left the cities to move to the suburbs. The African Americans and Latino Americans that were left behind in cities (or who moved to the cities in the intervening years) encountered many challenges in their neighborhoods, as budgets were slashed and resources diverted to the wealthier, whiter communities. Faced with a lack of economic opportunity, as well as rising crime and poverty rates, the young people in the Bronx and nearby communities began creating their own kinds of cultural expressions. These forms of expression would come together to form the four pillars of hip hop. The 4 Main Elements of Hip Hop Music Most scholars agree that there are four main elements, or pillars, to hip hop music. These pillars originated in the 1970s and continue to represent hip hop culture today: Deejaying: making music using record players, turntables, and DJ mixers Rapping: rhythmic vocal rhyming style Graffiti painting: also known as â€Å"graf† or â€Å"writing† Break dancing: a form of dance that also encompasses an overall attitude and style All four of these elements remain signifiers of hip hop as a larger cultural movement. Hip hop is typically broken into three phases: old school, new school, and 21st century. Old School Hip Hop Old school hip hop typically dates from the origination of the movement in the early 1970s up until the mid-1980s. The first major hip hop deejay was DJ Kool Herc. Mixing percussive beats with popular dance songs, Kool Herc was instrumental in developing the sounds that became synonymous with hip hop, such as drum beats and record scratches. Influenced by Kool Herc and his peers, hip hop deejays developed new turntable techniques, like needle dropping and scratching. Kool Herc also popularized rapping, which drew upon the traditions of West African griots, talking blues songs, and black power poetry, among others. Towards the end of the old school hip hop era, the movement began to gain national recognition. The Sugarhill Gang’s song â€Å"Rapper’s Delight† (released in 1979) rocketed up the national music charts, ushering in a new wave of musicians, artists, and performers, while also introducing people around the world to this new type of music. New School Hip Hop By the mid-1980s, hip hop had firmly entered its new school era. The names that headed up hip hop’s new school are more recognizable to a contemporary audience: Run-D.M.C, LL Cool J, the Beastie Boys, and Public Enemy. Each of these artists is responsible for making hip hop what we know today. Run-D.M.C brought hip hop to a larger audience through performances on MTV. The Beastie Boys pushed deejaying further with their digital sampling. LL Cool J and Public Enemy pushed rap in new directions: LL Cool J by bringing romantic themes into hip hop and Public Enemy by using rap to push forward political ideology. Other artists that came of age during hip hop’s new school era include Queen Latifah, who, along with Salt-n-Pepa, brought women into the genre, the Fresh Prince, aka, Will Smith, and M.C. Hammer, all of whom popularized hip hop music even more. As hip hop grew in popularity, it expanded beyond its regional roots, too. In 1989, N.W.A’s Straight Outta Compton became the most prominent hip hop album to emerge from somewhere besides New York City. The East Coast - West Coast divide evolved into a full-on rivalry between the two groups, which ended with the unsolved murders of Tupac Shakur and Notorious B.I.G. From the ashes of the rivalry between the East and West Coasts came late 1990s hip hop, which saw artists like the Wu-Tang Clan, the Fugees, and Diddy reach new levels of popularity. Hip hop became a worldwide phenomenon at this point, too, with new audiences and artists emerging in places like Tokyo, Cape Town, London, and Paris. By the turn of the century, hip hop was the best-selling music genre in the United States. Hip Hop in the 21st Century The 21st century was a tough time for the music industry. The advent of streaming services affected all genres, including hip hop. Despite the monetary effects of the shift in music delivery, hip hop retains its prominence, influencing musicians of all genres. Over the last decade or so, hip hop has moved further from its East and West coast roots. New epicenters for the genre have emerged in New Orleans, Atlanta, Houston, and Detroit, as well as in other cities throughout the United States. Building off of the original four pillars that defined the genre, hip hop artists touch every part of American culture, from dance (think Beyonce’s show-stopping productions) to fashion (where artists like Kanye West have launched lines) to politics (Barack Obama referenced Jay Z several times during his 2008 campaign). While the future of the music industry remains uncertain, one thing’s for sure: hip hop is here to stay. Major Moments in Hip Hop History Throughout hip hop’s history there have been major moments, from the first time a drummer used a break beat on a record to the first time a hip hop album went platinum. Here are some of the major moments in hip hop history. Year Event 1925 Dancer Earl Tucker (also known as Snake Hips) incorporates floats and slides into his dancing, which would later inspire breakdancing. 1962 James Brown’s drummer, Clayton Fillyau, uses the break beat on the record Live at the Apollo. These beats would later influence break dancers. 1965 Muhammad Ali delivers one of the earliest rap lines before his bout against Sonny Liston. 1969 James Brown records â€Å"Sex Machines† and â€Å"Funky Drummer.† Both songs would later influence percussion in hip hop. 1970 Hip hop first appears in the Bronx. 1973 DJ Kool Herc deejays his first block party in the Bronx. 1974 After watching DJ Kool Herc, other DJs start playing in similar styles around the Bronx. DJ Pleaser Lovebug Starski first refers to this movement as â€Å"hip-hop.† 1975 DJ Grand Wizard Theodore invents the record scratch. 1976 DJ Afrika Bambaataa battles Disco King Mario in the first DJ battle. 1978 The music industry first uses the term â€Å"rap music,† which shifts the focus in hip hop from the deejays to the emcees. 1983 Ice T pioneers rap on the West Coast. Michael Jackson does the moonwalk, borrowing from b-boy dance moves. 1984 The Fresh Fest concert, a hip hop tour featuring artists like Run D.M.C, nets $3.5 million. Hip hop has arrived. 1985 Salt-n-Pepa enters the scene as one of the first female rap groups. 1986 The Beastie Boys release Licensed to Ill. 1987 Public Enemy releases Yo! Bum Rush The Show. 1988 N.W.A releases Straight Outta Compton. 1989 A group of friends in Manhattan forms A Tribe Called Quest. D.O.C releases No One Can Do It Better. 1991 N.W.A sells nearly one million copies of N****z For Life in its first week of release. 1992 Dr. Dre’s album, The Chronic, goes multi platinum. Wu-Tang clan release 36 Chambers. 1995 Queen Latifah wins a Grammy award from Best Rap Solo Performance. 1996 Jay-Z releases Reasonable Doubt. The Fugees’ album, The Score, wins two Grammys and debuts at number one. Tupac Shakur is fatally shot. 1997 Missy Elliott releases Supa Dupa Fly. Notorious B.I.G is shot and killed. 1998 Lauryn Hill’s solo album, The Miseducation of Lauryn Hill, earns 11 Grammy nominations and five wins. 1999 Eminem sells four million copies of The Slim Shady LP. 2000 Dr. Dre sues Napster. 2002 Talib Kweli debuts his solo album and introduces himself as a political voice. 2003 Eminem faces controversy and opens up debate about hip-hop and racism after being caught using the N-word. Federal investigators raid the offices of Murder Inc. 2004 Dr. Dre gets punched in the face at the 2004 Vibe Awards ceremony. 2008 Jay-Z becomes the first rapper to headline Glastonbury, the largest greenfield music and performing arts festival in the world. 2010 Nicki Minaj releases Pink Friday, which hits number one on the US charts. 2018 Kanye West releases his eighth studio album, Ye, which debuts at number one. What's Next? If you're looking for something fun to do tonight, this slime recipe might be exactly what you need. Did you know that water has a very special density? Check out our guide to learn what the density of water is and how the density can change. Want to know the fastest and easiest ways to convert between Fahrenheit and Celsius?We've got you covered! Check out our guide to the best ways to convert Celsius to Fahrenheit (or vice versa).

Arnold Palmer Hospital Supply Chain

Arnold Palmer Hospital’s Supply Chain Case Arnold Palmer Hospital is one of the nations leading hospitals for women and children. It is located in Orlando, Florida, and is apart of a national purchasing group. Even though being apart of the purchasing group has some advantages, there are also many disadvantages. These disadvantages forced the hospital to change its supply chain strategy. After leaving this group the hospital along with several other hospitals from the group formed their own smaller, but still powerful group, Healthcare Purchasing Alliance.The company saved its members $7 million in the first year with two main changes. First, it was structured and staffed to assure that the bulk of the savings associated with its contracting efforts went to its eight members. Second, it struck even better deals with vendors by guaranteeing a committed volume and signing not 1- year deals but 3- to 5- year contracts. There are several issues facing the Arnold Palmer Hospital (APH) that led to the revising of the supply chain strategy.The main reason for the revision of the strategy was because of the frequent changing of products every year by the purchasing group, because of lower cost bidders. Another reason for the change in strategy is the fact that the purchasing group drops products that are familiar or preferred to APH, and stocked products that were not famili ar to the physicians at the hospital. The final reason the case stated that the hospital changed its strategy was because the buying group was not able to negotiate contracts with local manufacturers to secure the best pricing.Because APH left the large purchasing group and formed their own group they were able to save their members $7 million, even though they had an internal cost of $400,000 to run HPA the savings and ability to contract for what the member hospitals really want makes the business a good one. The reason that Arnold Palmer Hospital’s strategy differs from a manufacturing firms strategy is because an effective supply chain strategy in manufacturing focuses on development of new product innovations and efficiency through buyer-vendor collaboration, where-as the approach in a service industry has a slightly different emphasis.Because APH is a service industry it focuses more on the people side of the supply chain. Using the people who actually use the product and taking their input when buying the objects. The alternative to the problem with the purchasing group would be to do exactly what APH did, leave the group. Although instead of forming their own group they could have joined another group in the area. With them forming their own group they can set their own rules, and regulations, and if they had joined another group they would have had to conform to the already set rules and regulations. I believe that the best alternative that they could have chosen was forming their own purchasing group. That way they can do what was best for them, their patients and their employees, and the other hospitals in the group. They can come up with their own rules and regulations, who they wanted their supplies from, and who to negotiate contracts with.

Topic is how did Steve Jobs has influenced people's, or my own ideas Essay

Topic is how did Steve Jobs has influenced people's, or my own ideas - Essay Example I am focused on doing the same because I have decided that I wont do anything I don’t want to as I want to focus my energy in doing what am best at in order to achieve my objectives in life. He always gave the best at what he was doing in order to perfect it with the objective of giving the customers the best there can ever be. One of the major lessons I got from him is that life is short hence I have to maximize the use of my time in order to achieve my goals. Furthermore, mistakes are there to make us better citizens and come back much stronger than before. I take my mistakes as life lessons and I do my best not to repeat them and do things differently so as to achieve my objectives in life. I also study the lives of my friends and other people and get the best out of them and avoid the mistakes that they made in life. This has made me who I am today and I still remain focused on achieving greater things in life. He used his personal life experiences during his speeches and this inspired me a lot as I always aspired to be like him. His insistence on not losing faith during hard times often guides me during difficult times. I now understand that there is no time for being hopeless as life is too short to even think of despairing. I am now focused in everything I do and I don’t despair at all regardless of the hardships I face in life. The various challenges and obstacles that tend to inhibit my success in life only make me stronger and wiser and give me confidence every time I manage to overcome them. My mistakes make me a better person because what is important is not to repeat them and stay focused on discovering new ways of doing things. Through his speeches, I managed to understand and appreciate the importance of utilizing the few resources I have at my disposal. Success is not based on doing big things because you may die struggling to achieve that and not do it at all. It is based on utilizing the available resources to get the best out of them. When he said that people don’t realize what they have until they lose them, I was moved because he was stressing on the importance of guarding what we have and using them wisely in order to get the best out of them. Things like time and natural resources are not renewable and should be well utilized for maximum output. We only live once and aging is not reversible so we should do all the things that we are capable of doing in good time so we don’t regret in the future when it’s a little too late. It is important to be yourself and do things in your own unique way. Being original and sticking to oneself helps in discovering and sticking to personal talents as opposed to imitating what the others are doing. This is very important because it ensures that one concentrates at what he is good at and likes doing as opposed to imitating something that is beyond your ability. Setting personal achievable goals is the basic thing here as it drives one to succeed in a given task within a given time frame. It also eliminates the possibility of trying to achieve impossible things because other people are doing them and succeeding with ease. This goes hand in hand with ignoring those who criticize what you are doing and think that you are either crazy or bound to fail. The society has these kinds of people that will either mock you or pull you down so you don’

Nursing Assignment Example | Topics and Well Written Essays - 250 words - 15

Nursing - Assignment Example Nursing research like any other research encompasses the content of quantitative and qualitative reports. This paper answers four questions about nursing research based on the Burns and Grove text Yes, findings from a single study may be used to change nursing practice. Findings in most instances generate conclusions which reflect the current situation in the nursing field. According to Polit and Beck (2008), nurses are expected to use the most current practice, and for nurses to determine what the current practice is, they must read research critically and if possible embrace the latest findings. According to Polit and Beck (2008) statistical significance refers to the fact that the observed mean differences may not have been caused by sampling error. Statistical significances often occur even where very small population differences are observed if the sample size is large. Practical significance on the other hand examines whether the difference between the observed mean is large enough to be practically of a value or have a real meaning. Nursing research findings should be communicated to health visitors, senior nurses, midwives, managers, educators, researchers, advanced nursing students, and the whole nursing fraternity. The mechanisms that can be used to communicate these findings to them include; the use of journals, reports, posters, online databases, memos, and through implementation of policies. Poster presentation in nursing is the art of conveying message about findings from nursing research findings (to Burns & Grove, 2009). This presentation is normally prepared after a nursing research abstract has been accepted. In conclusion, nursing research is essential to the nursing practice and the healthcare fraternity as a whole. This because it ensures that nurses offer the most current services and are able to

Fredric Jameson and the No Wave Art Movement Essay Example for Free

Fredric Jameson and the No Wave Art Movement Essay In postmodern art, history is self-consciously reappropriated and re-fashioned into new forms. Postmodern art, Jameson argues, was a logical outcome of late-capitalism, which in its late stage has allowed society to abolish the distinction between high culture and mass culture, producing a culture of degradation. This was first taken up as an aesthetic by Andy Warhol. In the text, Postmodernism: Style and Subversion, 1970-1990, Adamson and Pavitt note that Jameson, â€Å"found Warhols glittering series Diamond Dust Shoes to be particularly unnerving because of its incorporation of ommodity culture† (70). Art, according to both Warhol and Jameson is above all, a commodity, something to be bought and sold. Warhols work illustrates Jamesons contention that, Aesthetic production today has become integrated into commodity production (4). This conflation of art and commodity creates a field of cultural production that is incapable of depth and valuable social critique. According to Jameson, the abstract aesthetic of modernism was an expression of the new social forms of abstraction specif ic to capitalism. In modernism, the universalization of the money-form manifests as a range of social abstractions including, for example, societys dominant way of seeing† and representing the world aesthetically. In the age of global capitalism, the utopian sublime of modernism, to which Jameson referred, has disappeared, and has been replaced by the postmodern cultural logic of consumption. With the universalization of capitalism, the distinction between culture and economics has collapsed. In postmodernism everything, including art and culture, is subject to the logic of commodif ication. In the text, The Cultural Turn, Jameson submits that postmodernity makes the cultural economic at the same time that it turns the economic into so many forms of culture (81). This essay submits that the No Wave art movement that occurred between 1974 – 1984 in New Yorks Lower East Side is indeed postmodern, by Jamesons standards, and yet resists this conflation of art and commodity that Jameson maintains is characteristic of this paradigm. Jamesons text, Postmodernism, suggests that with arts entry into the commodity sphere art becomes propelled not by ideas but by money (Adamson et. al, 70). John N. Duvall is critical of Jamesons linkage between culture and commodif ication in the postmodern context. Duvall writes in his text, Troping History, â€Å"It is precisely change that, for Jameson, can no longer be imagined in postmodernism, since aesthetic production has been subsumed by commodity production, thus emptying the modernist aesthetic of affect and hence of political effect† (4). Jamesons characterization of postmodern art as enveloped in commodif ication overlooks art produced during this period that consciously existed outside the margins of the art market and acted as a resistance to the conditions of a commodif ied artistic arena. As alluded to by Duvall in the previous quotation, Jameson does not account for the possibility of political art production in postmoderism. As Perry Anderson notes, by the positioning of the postmodern between aesthetics and economics, Jameson omits, a sense of culture as a battlefield, that divides protagonists. That is the plane of politics understood as a space in its own right (18). As Marvin J. Taylor describes, â€Å"Downtown artists were profoundly aware of the failure of modernist revolutions, but were unwilling to abandon the possibility of a better world† (22) 1. It is precisely this urge for a better world that Jameson contends is an impossibility in the context of late-capitalism, and absent from postmodern art production. To classify the No Wave Art Movement as postmodern requires a working definition of this cultural epoch. The postmodern paradigm is commonly associated with a range of aesthetic practices, involving irony, parody, self-consciousness, fragmentation, playful selfreflexivity and parataxis (Waugh, 325). Characterized largely by the qualities of appropriation and simulation many postmodern artists addressed mass media and commodif ication in their 1 The terms â€Å"No Wave† and â€Å"Downtown scene† are used synonymously in essays that describe movement. So too are these terms used interchangeably in this essay. work, including those artists in the No Wave Movement, specif ically Barabara Kruger, who came out of this movement and whom we look to specif ically at the end of this paper. As Glen Ward notes in his description of the chronology of postmodernism, â€Å"More complex ideas about postmodernism quickly infiltrated the art world. Next to painting, photography and media-based work regained the limelight in the mid-1980s by seeming to provide a more obviously political postmodernism† (41). Rather than being incorporated into the late-capitalist system some theorists argue that postmodern art is a response to capitalist corruption, voicing an opposition to the world of commodities rather than becoming entrenched in it. There is no shortage of theorists and critics who have characterized the No Wave Art movement within the postmodern paradigm. As Carlo Mccormick describes in his essay, A Crack in Time, which appears in The Downtown Book, â€Å" etween 1974 and 1984 in Downtown Manhattan occurred the true postmodern moment: a time when modernism was most certainly dead and, unmoored from its schematics, creativity was based on flux, uncertainty, and searching† (71). The No Wave Art movement can be characterized by several recurrent postmodern themes including notions of authenticity; the Downtown scen e questioned the function of terms like authorship, originality, appropriation and tied them to the transgressive practices of theft, piracy and plagiarism. The second recurrent theme explored in the No Wave scene included performativity; challenging notions of representation in an environment of fragmented and multiple identities. Thirdly, the No Wave art scene is inextricably linked to its politics. As Taylor describes, Downtown art was activist and aggressive. Work was informed by the feminist movement, queer activism, AIDs, and poverty in postwar United States. As an expression of these politics, the No Wave Movement sought to criticize notions of institutional accreditation. This included an exploration of power structures, including the role of education, technical skills and technique. In her description of the Downtown Scene Gumpbert writes, â€Å"What so many Downtown artists of this era did share is that they conceived their work as alternative, if not outright subversive, vis-a-vis traditional curatorial and exhibition practices. Incorrigibly and resolutely defiant, Downtown artists interrogated systems of accreditation, broke down generic disciplines, and directly engaged with political issues† (14). Artists of the No Wave Art scene engaged with the political issues that plagued New York City at the time. This signif ies a potent antithesis to Jamesons notion of postmodern art as vacuous and incapable of politicization. Taylor writes, â€Å"Suspicious of easy assimilation into the traditional Uptown art scene, Downtown artists mounted a full-scale assault on the structures of society that had led to grinding poverty, homelessness, the Vietnam War, nuclear power, misogyny, racism homophobia and a host of other social problems† (22). As an aesthetic movement the No Wave Art scene stood as a highly politicized rejection of the evolution of art as commodity. It was also a domain of extreme artistic production, â€Å"â€Å"From graffiti art to appropriation to Neo-Geo, virtually every major development in American art during that period seems to have originated in one or more of the mostly small, mostly storefront spaces that sprang up in the contested urban zones that characterized a neighbourhood in the early stages of transition from slum to middle-class playground† (Gumpert, 84). The scene existed actively outside the art market, residing largely in â€Å"informal alternative spaces† (Gumpert, 13). As an expression of an alternative antiestablishment attitude much of the work produced at this time took the form of graffiti art or performance art. According to Gumpert, â€Å"Artists, took to the streets in the late 1970s† (11). Notable artists of this time include, the graffiti works of Jean-Michel Basquiat, Keith Herrings works in the citys subway platforms and on sidewalks and Richard Hambleton, whose work appeared in poorly lit downtown alleys and construction sites (11). The No Wave movement was also composed of a subcultural punk scene, a host of postmodern writers and experimental filmmakers and video artists. Most famously perhaps was the Times Square Show, that took place in 1980 in an empty massage parlour, with works from more than a hundred artists. These examples demonstrate the desire of many of the artists in the No Wave art movement to â€Å"breakout of the framework of the established art world† (11). The work that is categorized as No Wave was characterized by a certain ephemerality, which allowed the artists and their works to resist the constraints of the commercial market. This offers a critique of Jamesons assumption that art produced in the postmodern paradigm is inextricably linked with an economic motivation. As Gumpert explains in the forward for the text, The Downtown Book: The New York Art Scene 1974 1984, A majority of the works [shown in these spaces] were process oriented and situationally specif ic, involving a relationship between materials, concepts, actions and locations. They were sometimes spontaneous, improvisational, open-ended, and often collaborative. The works existed within a given time and then ceased to exist. As a result much of this work was labeled ephemeral, the intent being to create an experience rather than a product, and new terms were devised to describe it, such as installation and performance During this period artists out of necessity created and took control of their own contexts (10) In order to preserve much of the ephemeral work produced between 1974 – 1984 in New York, it was archived and documented in photographs, notes, and films. Irving Sandler accounts for the motives behind documentation in the No Wave art scene, â€Å"[theyre] sympathies were countercultural, they believed that the documentation of a work was not art and thus not salable. They had turned to process art installation art, body art, and conceptual art because they did not want to create art commodities. Many also believed that their refusal to produce salable objects would subvert the art market† (24). This demonstrates a anti-market sentiment in the production of postmodern No Wave art. Jameson does not account for this type of art production in the theories that he forwards in his text, Postmodernism. Writing about the No Wave literature, Robert Siegle identif ies a central insurgency against established structures of culture that existed in New York at that time. He wrote, â€Å"It is, then, an insurgency, but not one that expects to break free of some kind of specif ic corrupt institution. It is an insurgency against the silence of institutions, the muteness of the ideology of form, the unspoken violence of normalization† (4). Siegle describes No Wave writing as quintessentially postmodern in its approach to the â€Å"silence of institutions† and to the â€Å"position of the speaking subject†. Rather than attempting to overthrow institutions, No Wave literature, according to Siegle, is premised on the attempt to understand how the discourse of institutions constructs who we are, thereby using that knowledge to problematize cultural discourse. Although in his text, Suburban Ambush: Downtown Writing and the Fiction of Insurgency, Siegle speaks specif ically of writing, this assessment applies equally to all artists in the No Wave scene. Through the deployment of the postmodern techniques that Jameson describes, artwork in the No Wave context, was far from the depthless commodity that Jameson imagined. It was rather highly political, productive and subversive. In his text, Postmodernism and Consumer Society, Jameson furthers his claims that in postmodernism expressive depth is replaced by an aesthetic superficiality in a phenomenon that he describes as â€Å"the waning of affect†. This â€Å"waning† is directly associated to a diminished political imagination. Jameson uses a comparison of the work of painter Edvard Munch and Andy Warhol to evidence this modern to postmodern shift. He contends that in postmodernism historical depth is replaced by nostalgia. Simultaneously, parody is replaced by pastiche, and an art of surface and loss is substituted for a history which â€Å"remains forever out of reach† (198). Jameson feels, â€Å"it is no longer clear what artists and writers of the present period are supposed to be doing† (196). This invoking of nostalgia and pastiche creates a condition in which artists can only comment upon or reproduce past art. This is articulated with Jamesons description of postmodern art practice as being characterized by â€Å"the failure of the new, the imprisonment in the past† (196). In, The Postmodern Turn, Kellner and Best describe Jamesons theory noting, â€Å"Coolness, blankness, and apathy become new moods for the decelerating, recessionary postmodern condition in an age of downsizing and diminishing expectations† (134). Jameson seems to articulate his own failings in his description of postmodern art. He admits that he is confounded by the postmodern and political work of Hans Haacke who questioned the institution and capitalism through his postmodern art installations. Of Hacke, Jameson writes, â€Å"The case of Haacke poses, however, a problem, for his is a kind of cultural production which is clearly postmodern and equally clearly political and oppositional – something that does not compute within the paradigm and does not seem to have been theoretically foreseen by it† (159). The No Wave art movement equally confounds Jamesons theory towards a postmodern art that is bound by a sense of complicity. Much critique has been garnered by Jamesons position on the art of the postmodern. Theorist Linda Hutcheon is critical of Jamesons positioning of pastiche as a baseless technique, But the looking to both the aesthetic and the historical past in postmodernist architecture is anything but what Jameson describes as pastiche, that is â€Å"the random cannibalization of all the styles of the past, the play of random stylistic allusion. † There is absolutely nothing random or â€Å"without principle† in the parodic recall and re-examination of the past To include irony and play is never necessarily to exclude seriousness of purpose in post-modernist art. To misunderstand this is to misunderstand the nature of much contemporary aesthetic production – even if it does make for neater theorizing. (26 -27) Downtown artists actively sought to address this issue of art production within a capitalist system. Their work is characterized by a postmodern multiplicity. In his essay on the Downtown scene, Siegle notes, Far from being defeated by contradictions, these postmoderns take form it the cue for an alternative logic. Far from being rendered hopeless by the seemingly inevitable drift of (inter)national politics, they borrow form disinformation the ironic habitation of familiar forms for cross-purposes. Far from being paralyzed by the anxiety of past masters influence, they appropriate them for commentary on classic motifs (such as mastery, originality, autonomy, representation) and art-world structures (such as publishing houses, galleries, museums, and criticism). Far from feeling compromised by the investment economics of art, they turn the art market into a microcosm of consumer capitalism and subvert its operations. 10) No Wave artists, though they invoked themes of capitalism, were in fact openly critical of it. They did not create art with the intention of financial gain. Taylor presents Bourdieus theory on cultural capital to elucidate the artistic practices of those in the No Wave art scene and their pursuit for symbolic capital rather than economic. He writes, â€Å"If the whole field of cultural production could be thought of as all those artists, poets, musicians, editors, publishers, critics, performers hen there could be subsets of this group who did not all conform to the desire for economic capital, but rather, and mostly because their work was experimental, sought â€Å"symbolic capital† from their peers† (31). Jameson argued that postmodernism marks the final and complete incorporation of culture into the commodity system. This integration The No Wave art scene, in fact, actively critiqued this condition. Though the No Wave Art movement occurred under the conditions of late-capitalism, the work produced during this period does not embody this notion of depthless commodity Jameson maintains is the primary characteristic of postmodern art. Barbara Kruger is an example of a No Wave artist whose work engages with themes of the media and the market while being simultaneously postmodern, anti-capitalist, and political. Krugers work, particularly her piece, Untitled, (When I hear the word culture I take out my cheque-book), serves as a response to the commodity culture postmodernism is so entrenched in. This work directly addresses Jamesons concern that postmodern art is incapable of an authentic engagement with politicization. Kruger evokes many postmodern themes in her work yet avoids the non-criticality of commodif ied art practice that Jameson forwards. Kruger invokes the postmodern technique of pastiche recombining previously articulated styles while actively producing new meanings through this act re-appropriation. For Jameson, â€Å"Pastiche is a recycling of the past without the critical edge of satire or the subversive role of parody; it is a gesture to the past in a mediasaturated culture that lives in a perpetual present† (Murphie, Potts, Macmillan, 58). Where Jameson forwarded the notion that pastiche was merely â€Å"blank parody† (184) Kruger enacts pastiche as a meaningful technique. As noted in Postmodernism: Style and Subversion 1970 – 1990, â€Å"She managed to break the conceptual barrier between art and mass media by selecting images from magazines from the 40s and 50s. Choosing them based on their poses and presenting phrases over them Stereotypes were thus turned into the vehicle for delivery of a totally different message† (368). Some of the postmodern themes deployed by Kruger include, the questioning of meta-narrative tructures, highlighting the decentred nature of contemporary culture, and the divorcing of sign and signif ier. In her work Kruger operates within the language and iconic system of consumer culture while offering a critique of those very conditions. As outlined in this essay Jamesons theory of the cultural logic of late-capitalism fails to identify the critical aspect that characterize d much of the work produced under the conditions of postmodernism. This is specif ically demonstrated through the work of No Wave artists operating out of New york in the 1970s and 80s. While invoking the aesthetic themes common to postmodernism the work produced in the No Wave scene was highly political and did not act as a static representation of commodif ied art culture. The work of Barbara Kruger specif ically dealt with the concern of art as existing in a commodif ied global economy rather than simply falling victim to it. It was in fact the movements shift towards commodity that marked the No Waves scenes decline. The year 1984 is signif icant to this movements trajectory. In his essay entitled, Playing the Field: The Downtown Scene and Cultural Production, An Introduction Marvin J. Taylor writes, â€Å"By 1984 the larger art world had encroached on the scene. That same year Mary Boone displayed and began to sell Basquiats paintings for up to $20, 000 The major art journals, galleries, and auction houses had co-opted the restricted field of Downtown art, creating superstars and an influx of economic capital that would eventually overtake the symbolic capital† (36). It was exactly this move into the realm of the market that ended the production of postmodern art within the Downtown scene. Postmodern artists active in the No Wave art movement Jamesons proposition that art made under postmodern conditions is incapable of exacting a political message. Works Cited: Adamson, Glenn, Jane Pavitt, and Paola Antonelli. Postmodernism: Style and Subversion, 1970-1990. London: VA Pub. , 2011. Bertens, Hans. The Idea of Postmodernism: A History. London: Routledge, 1995. Cameron, Dan. East Village USA. New York: New Museum of Contemporary Art, 2004. Duvall, John N. Productive Postmodernism: Consuming Histories and Cultural Studies. Albany: State University of New York, 2002. Hager, Steven. Art after Midnight: The East Village Scene. New York: St. Martins, 1986. Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988. Jameson, Fredric. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991. Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London: Verso, 1998. Kellner, Douglas, and Sean Homer. Fredric Jameson: A Critical Reader. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004. Murphie, Andrew, and John Potts. Culture and Technology. New York: Palgrave Macmillan, 2003. Perry Anderson. The Origins of Postmodernity. London: Verso, 1998. Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: Icon Editions, 1996 Siegle, Robert. Suburban Ambush: Downtown Writing and the Fiction of Insurgency. Baltimore: Johns Hopkins University Press, 1989. Taylor, Marvin J. The Downtown Book: The New York Art Scene, 1974-1984. Princeton, NJ: Princeton UP, 2006. Ward, Glenn. Postmodernism. Chicago: Contemporary, 2003. Print. Wheale, Nigel. The Postmodern Arts: An Introductory Reader. London: Routledge, 1995.

Effects of Media on Children and Adolescents Essays -- media influence

1. Character merchandising will be processed by children at the peripheral level, aka heuristic persuasion processing, as it is a message that relies heavily on emotional attachment and source attractiveness. These appeals rely on moderate levels of consumer attention and low motivation to process the message. The persuasive message is not presented in a rational argument the consumer must cognitively analyze but rather it is presented through an attractive character that children either know or can easily attach to that is aimed at generating a positive emotional association with the brand. Product placement will be processed at the automatic level, aka automatic persuasion processing, because consumers are generally unaware that they are being targeted by a persuasive message. The brand is integrated seamlessly into media content so that children do not know it is placed their intentionally as a marketing strategy. The implicit nature of product placement relies on the consumer to devote no explicit attention to the advertised brand and rather make a subconscious positive association. Children exposed to product placement do not need to be motivated or cognitively able to process the message as it is designed for implicit brand memory. 2. Rozendaal et al. emphasize the crucial difference between conceptual knowledge of advertising and attitudinal knowledge. The study showed that being conceptually literate (recognizing and understanding an advertising message) does not increase advertising defenses in children. Therefore, interventions will most likely be ineffective as children will not use the knowledge they have when faced with a persuasive message. Moreover, most messages aimed at children are processed at the per... ...& adolescent medicine, 153(11), 1184-1189. Veldhuis, J., Konijn, E. A., & Seidell, J. C. (2012). Weight information labels on media models reduce body dissatisfaction in adolescent girls. Journal of Adolescent Health, 50(6), 600-606. Matsuba, M. K. (2006). Searching for self and relationships online.CyberPsychology & Behavior, 9(3), 275-284. Valkenburg, P. M., & Peter, J. (2007). Preadolescents' and adolescents' online communication and their closeness to friends. Developmental psychology,43(2), 267. Valkenburg, P. M., & Peter, J. (2008). Adolescents' Identity Experiments on the Internet Consequences for Social Competence and Self-Concept Unity.Communication Research, 35(2), 208-231. Valkenburg, P. M., & Peter, J. (2009). Social consequences of the internet for adolescents a decade of research. Current Directions in Psychological Science,18(1), 1-5. Effects of Media on Children and Adolescents Essays -- media influence 1. Character merchandising will be processed by children at the peripheral level, aka heuristic persuasion processing, as it is a message that relies heavily on emotional attachment and source attractiveness. These appeals rely on moderate levels of consumer attention and low motivation to process the message. The persuasive message is not presented in a rational argument the consumer must cognitively analyze but rather it is presented through an attractive character that children either know or can easily attach to that is aimed at generating a positive emotional association with the brand. Product placement will be processed at the automatic level, aka automatic persuasion processing, because consumers are generally unaware that they are being targeted by a persuasive message. The brand is integrated seamlessly into media content so that children do not know it is placed their intentionally as a marketing strategy. The implicit nature of product placement relies on the consumer to devote no explicit attention to the advertised brand and rather make a subconscious positive association. Children exposed to product placement do not need to be motivated or cognitively able to process the message as it is designed for implicit brand memory. 2. Rozendaal et al. emphasize the crucial difference between conceptual knowledge of advertising and attitudinal knowledge. The study showed that being conceptually literate (recognizing and understanding an advertising message) does not increase advertising defenses in children. Therefore, interventions will most likely be ineffective as children will not use the knowledge they have when faced with a persuasive message. Moreover, most messages aimed at children are processed at the per... ...& adolescent medicine, 153(11), 1184-1189. Veldhuis, J., Konijn, E. A., & Seidell, J. C. (2012). Weight information labels on media models reduce body dissatisfaction in adolescent girls. Journal of Adolescent Health, 50(6), 600-606. Matsuba, M. K. (2006). Searching for self and relationships online.CyberPsychology & Behavior, 9(3), 275-284. Valkenburg, P. M., & Peter, J. (2007). Preadolescents' and adolescents' online communication and their closeness to friends. Developmental psychology,43(2), 267. Valkenburg, P. M., & Peter, J. (2008). Adolescents' Identity Experiments on the Internet Consequences for Social Competence and Self-Concept Unity.Communication Research, 35(2), 208-231. Valkenburg, P. M., & Peter, J. (2009). Social consequences of the internet for adolescents a decade of research. Current Directions in Psychological Science,18(1), 1-5.

Evaluating a protocal budget Essay

â€Å"One of the overall primary challenges organizations conducting clinical research is lack of information about the overall clinical research enterprise† says CITATION KCl96 l 1033 (K Claxton, 1996)Matthew in a recent issue of medical research laws and policy report. Hence developing a quality budget proposal outline gives a better scrutiny and analysis of the funds flow.in a clinical trial conduct, in order to acquire better financial outcomes and pass out successful audits, there is needed to be more vigilant and careful in the financial management. â€Å"Establishing guidelines to streamline and aid the management of a clinical trial program will make managing less challenging† as CITATION kel p 1999 y l 1033 (Willenberg, p. 1999). This is being emphasized in order to meet the allocated budget for a given organization. Many hospitals and academic centers lack the trained personnel for them to review the study proposals and funds which consequently lead to incorre ct billing for research. CITATION MBa04 l 1033 (M Barnes, 2004) â€Å"In order to evaluate the protocol requirement, you need to determine exactly what is going to be done as part of the protocol. Once that is completed, you should be able to determine what resources the site will need in order to implement the protocol† Preparation for a budget clinical trial is done maybe when you want to obtain funds from a granter for your research or you have been paid to conduct a certain protocol by a pharmaceutical company.in such a case you develop a budget for your research, putting into considerations things like: laboratory tests, hospital admissions, patient visits, surgical procedures and fees for the above services. These are considered as the resource requirements for you to develop a comprehensive budget. Below is a template example for a budget proposal outline I developed for a certain request for application. (RFA) Below is our application budgetCITATION kel p 2001 y l 1033 (Willenberg, p. 2001) RFA Title: Host- directed TB Therapy new approaches (UH2/UH3) RFA Number: RFA-A1-14-058 Purpose of the RFA: The main purpose for filling this request of application is to curb the adverse effects of TB brought about by Negligence and lack of follow up to these victims. This research is centered to direct TB therapies to the host individuals where each victim is screened and followed up for their healing process ensuring they take the right medication and avoid chances of infecting others. Reason for selecting this RFA – I chose this particular RFA following the upcoming of new technologies and new machines especially the gene expert machine, which processes sputum, analysis it and determines the multidrug resistance individuals, enabling their follow up. Budget (Time) Period: This clinical trial is programmed to take 2 years. Budget Categories Budget Category Description Cost $ Subtotal $ Personnel Principal investigator Graduate research assistant (lab scientist) Undergraduate research assistant (Nurse) Data staff These relates to costs incurred by the staff involved in the research process. Different types of personnel are paid according to their experience and expertise. Rates of these personnel are charged either according to rate per study visit, hourly rate or full time. The budget also included costs for new recruitment of personnel and training. CITATION MBa04 l 1033 (M Barnes, 2004)78,200 24,000 12,000 8,000 122,200 Services Screening Administrative work Costs incurred in offering services to the subject individual through evaluation, screening and costs for transport of specimen, batching and storage. 1100 270 1370 Facilities Laboratory Clinical These are the cost needed to come up with facilities where the subject individuals are taken their specimen in this case sputum for analysis and how often they visit the clinics for checkup. These facilities are needed to offer these services. 30,000 20,000 50,000 Data capturing -report forms -questionnaires -Computers -printers Collected on case report forms and questionnaires thus need to be included in the budget. Costs also incurred in obtaining and developing these data. Computers, photocopiers and printers also included in the budget. Travel Domestic trips Domestic trips Airfare This accounts for cost of all the trips made for training and meetings associated with the clinical trial, visiting other sites, scientific presentations and going to the research areas. 6400 2200 4000 12600 Equipment and suppliers -gene expert machine Cost incurred for purchasing all the related equipment needed and paying the suppliers who bring the equipment and machines to do the case study (gene expert machine for sputum processing and analysis.) CITATION KCl96 l 1033 (K Claxton, 1996)20,000 20,000 Total Expenses 206,170 Indirect Costs The research incurred extra expenses on utilities (phone and internet), cleaning and rent at an overhead rate of 8%. CITATION Fra l 1033 (Stromberg)400 400 TOTAL REQUEST 206,570 References K Claxton, J. P. (1996). Health Economics.M Barnes, J. K. (2004). Journal of health law.Ognibene, G. a. (n.d.). Evaluating a protocal budget.Stromberg, F. (n.d.). Instruments for clinical health care research. 2004. W.Staman, m. (n.d.). medical research laws and policy report. Willenberg, k. M. (n.d.). managing clinical trials-frustrations. Health economics†, (1996) – Wiley Online Library by K Claxton, J Posnnett.Look AHEAD research Group-controlled clinical trials†, (2003†- Elsevier. Instruments for clinical health-care research† by M Frank-Stromberg, SJ Olsen (2004) Practical clinical trials: increasing the value of clinical research for decision making in clinical and health policy† by SR Tunis, DB Stryer, CM Clancy-jama (2003) Source document

Balanced Diet

Intake of appropriate food with the combination of all groups of foods called balanced diet. The balanced diet provides sufficient nutrition and energy to the body. It is combination of different foods such as Milk group, meat group, fruit and vegetable group and grain group. Taking of excessive food of any group refers to unbalanced diet. All groups of diet should be taken every day and three meals a day should be taken. The unbalanced diet causes many side effects in connection with body tissues, growth and development, bone and muscle problems etc.The human body consists of 63% water, 22% protein, 13% fat and 2% minerals and vitamins. Accordingly human should take food. The taking of food depends upon the age also Hormonal balance is required while taking diet. The hormonal balance can be achieved through providing low glycolic carbohydrates, enough protein and fat. The following should form the nutritional balance: The human body requires essential nutrients for which the balance d diet provides with the RDAs i. e. Recommended Dietary Allowances.The balanced diet avoids excessive calories such as saturated fats, cholesterol, sodium and sugar. The taking of balanced diet depends upon the age, physical activity, sex of the human. Hence there will be no universal prescription of the balanced diet to the humans. It differs all.WATER DIETWater is part of balanced diet. The human brain is made up of 95% water; blood is 82% and lungs 90%. Even 2% drop in our body’s water supply can cause signs of dehydration, short term memory etc. Water is important to the human body. The body cannot work without sufficient water.If adequate water is not consumed on a daily basis the body fluids will be out of balance, which causes dehydration. The minimum consumption of water per day is six to eight ounce glasses. Drinking water is essential for weight loss. Many people desired to take cup of coffee, tea or other liquids, but they forget to take sufficient water for every day. Water plays key role in the prevention of disease. Drinking of eight glasses of water daily can decrease the risk of cancer by 45% and it can reduce the risk of breast cancer. It is important to note that the intake water should be cool.But adding of ice should be avoided. When the pure and water taken as water diet, it helps to adjust the set point of the body’s metabolism. Because the cool water absorbs heat from the body and then body expends calories in order to heat the water up to body temperature. The water diet amounts to 60 calories.QUANTITY OF FOODBalanced diet provides regular supply of vitamins, minerals and other required nutrients in order to ensure optimum health. The optimum health causes increase of energy levels for physical activity and leads to weight loss also.Balanced diet contains all ingredients needed for the body in order to keep the body healthy. The balanced diet contains carbohydrate, protein, fat, vitamins, mineral salts and fiber. But these all should be used with correct proportions. Eating of healthy foods from all the groups of foods for every day. Combination of foods from all groups such as Fruits, vegetables, breads, dairy products, meat and protein and fats should be taken with such measurements. The quantity of food should be taken with the combination of all groups as follows:PRECAUTIONSBalanced diet leads to balanced life. Women need fewer calories than men. A man who has weight of 140 pound and has low level of activity can take 2,000 calories per day, whereas woman can take 1,500 calories only. Ideal balanced diet should be preferred. Ideal balanced diet means variety of vegetables and fruits that calorie limits. Vegetable such as dark green vegetables, legumes, and starchy vegetables should be consumed several times in a day. Taking of such vegetables helps the accumulation iron and zinc levels in the body. The day meal should include with grains and milk products.In respect of Non-vegetarians, they shoul d eat lean meats and fish. The permanent part of balanced diet linked with protein rich fish, beans, nuts and seeds. Taking of balanced diet increases the healthiness and also take part in respect of the weight of the body. Balanced diet contributes healthiness, physical fitness of the body. While taking the balanced food, the following precautions should be observed on regular basisRegular exercises, decrease of calorie intake.Those people who are taking the 2,000-calorie per day have to take two cups of fruit and 2 cups of vegetables per day.Three cups of fat-free milk products can be taken.Avoidance of Trans fatty acidsThe intake of cholesterol intake should not be more than 300 mg per day.The intake of total fat should not exceed 20-35% of calories.The Added sugars should be avoided.With regard to the sodium or salt, the consumption should not be more than 2,300 mg i. e. one teaspoon of salt)The consumption of one alcoholic drink for women and in case of men it is two drinks per day.REFERENCE:http://www.georgetownuniversityhospital.org/body.cfm? id=555563&action=articleDetail&AEProductID=Adam2004_1&AEArticleID=002449http://www. medhelp. org/Medical-Dictionary/Terms/1/002449. htmhttp://www. patrickholford. com/content. asp? id_Content=997http://www. drugs. com/cg/balanced-diet. htmlhttp://www. weightlossforall. com/balanced%20diet. htmhttp://www. purchon. com/biology/diet. htm#carbohydrates 7http://www8. utsouthwestern. edu/utsw/cda/dept27717/files/48315. htmlhttp://www. findyoga. com. au/articles. asp? articlesID=105

How to Take Good News Interview Notes

How to Take Good News Interview Notes Even in an age of digital voice recorders, a reporter’s notebook and pen are still necessary tools for print and online journalists. Voice recorders are great for capturing every quote accurately, but transcribing interviews from them can often take too long, especially when you’re on a tight deadline. (Read more about voice recorders vs. notebooks here.) Still, many beginning reporters complain that with a notepad and pen they can never take down everything a source says in an interview, and they worry about writing fast enough in order to get quotes exactly right. So here are five tips for taking good notes. 1. Be Thorough – But Not Stenographic You always want to take the most thorough notes possible. But remember, you’re not a stenographer. You don’t have to take down absolutely everything a source says. Keep in mind that you’re probably not going to use everything they say in your story. So don’t worry if you miss a few things here and there. 2. Jot Down the ‘Good’ Quotes Watch an experienced reporter doing an interview, and you’ll probably notice that she isn’t constantly scribbling notes. That’s because seasoned reporters learn to listen for the â€Å"good quotes† – the ones they’re likely to use - and not worry about the rest. The more interviews you do, the better you’ll get at writing down the best quotes, and at filtering out the rest. 3. Be Accurate - But Don’t Sweat Every Word You always want to be as accurate as possible when taking notes. But don’t worry if you miss a â€Å"the,† â€Å"and,† â€Å"but† or â€Å"also† here and there. No one expects you to get every quote exactly right, word-for-word, especially when you’re on a tight deadline, doing interviews at the scene of a breaking news event. It IS important to be accurate get the meaning of what someone says. So if they say, â€Å"I hate the new law,† you certainly don’t want to quote them as saying they love it. Also, when writing your story, don’t be afraid to paraphrase (put in your own words) something a source says if you’re not sure you got the quote exactly right. 4. Repeat That, Please If an interview subject talks fast or if you think you misheard something they said, don’t be afraid to ask them to repeat it. This can also be a good rule of thumb if a source says something especially provocative or controversial. â€Å"Let me get this straight – are you saying that†¦Ã¢â‚¬  is something reporters are often heard to say during interviews. Asking a source to repeat something is also a good idea if youre not sure you understand what theyve said, or if theyve said something in a really jargony, overly complicated way. For instance, if a police officer tells you a suspect made egress from the domicile and was apprehended following a foot chase, ask him to put that into plain English, which will probably be something to the effect of, the suspect ran out of the house. We ran after him and caught him. Thats a better quote for your story and one thats easier to take down in your notes. 5. Highlight the Good Stuff Once the interview is done, go back over your notes and use a checkmark to highlight the main points and quotes that you’re most likely to use. Do this right after the interview when your notes are still fresh.

German Civilization(New German Cinema) Essay Example | Topics and Well Written Essays - 750 words

German Civilization(New German Cinema) - Essay Example After the World War II, German film industry was in great turmoil due to the division of Germany wherein many people got separated from their families. Most films in 1950s were characterized as ‘escapist’ entertainment by critics because they shied away to address contemporary issues although they remained popular among German audience. However, with the advent of television box-office collection of such films began falling drastically and cinemas began to close. At the beginning of 1960s, German film industry became not only economically vulnerable due to lack of creative and artistic touch but was struggling for its survival. That is evident from the fact that in 1961, none of the German film got entry at the prestigious Venice Film Festival. That was also the time when the German market was largely in control of Hollywood movies. Film industry, especially young and talented film makers greatly needed financial support without which it was impossible for them to either make films or compete with Hollywood films in German market due to latter’s financial strength. The German governments support in this respect providing financial stability to the New German Cinema came very handy. Many makers of the New German Cinema also collaborated with the German TV. This is in sharp contrast with Hollywood movies where they compete with local TV for audience. The German governments support to the New Cinema through tax reliefs and bank credits made it possible for young makers to produce some of the great movies. Thus, the New German Cinema not only survived on government funding and support but prospered too – to be touted as National Cinema. Many films in The New German Cinema ran packed houses around the world. In ot her words, it helped made the national cinema popular internationally. The Oberhausen Manifesto is known as the beginning of the New German Cinema. Films made during this era made a clear departure from traditional cinema –

Case study for Dye sol company (Australia) Example | Topics and Well Written Essays - 1000 words - 1

For Dye sol company (Australia) - Case Study Example It is very necessary to deal with projects which have respect in performance criteria of dimensions which influence the strategic decisions of the business in the investment decisions. The group of professionals is concerned in decision making dealing with the development of the equipment for the use of research in and manufacturing of dye sol. The company supplies the equipment and materials together with the components for the dye sol technology research in most of institutions in Australia. Criteria flow and evaluation of the machines helps to produce dye sol and assist in the technology research in making the company large1. The challenge in this is the communication system in designing the changes which falls under the management team in the company. In evaluating the project research, it is very necessary to consider some of the targets like, objectives and outputs of the project according to the overall goals and the impacts set for the achievement of the project. The effectiveness on the research is measured according to the achievement of the objectives and the major factors influencing the achievement and non- achievement goals. The efficiency of the measures lies on the part of the output based on qualitative and quantitative measures. Efficiency evaluation comprises of cost efficient and the implementation of the most efficient and the alternatives. The impact of the project brings a lot of impact on the development intervention which comprises of both social and economic development indicators. For example, beneficiaries in the project; sustainability lies on the measuring the benefit of every activity which is likely to sustain itself after the donor withdraws2. The project should cater for itself both social and financially stable. The table below shows criteria for Evaluation The long term involves the nature and improvements of the