How does Russell invite the audience to sympathise with Shirley Essay Example

How does Russell invite the audience to sympathise with Shirley Essay In the play [Shirley Valentine] feeling sympathy for Shirley is a regular occurrence, Shirley Valentine is a character who was endlessly trapped and is taken for granted, but then rediscovers herself. Shirley mourns for the lost possibilities of her unused life,.Shirley Valentine was written in the 1980s, as a kitchen sink drama, by a play writer named Willy Russell. He presents a basic ordinary womans working life, with unhappiness, regret, humour and at twist. This essay will be analysing the effects of the character, action; dramatic devices: languages, ideas, themes, and show how the audience is invited to sympathise with Shirley.I find Shirley to be humorous and a gentle person, looking for an easier, comfortable, relaxed life with a hint of spice!In the opening lyrics Russell cleverly combines words of sorrow and sympathy towards Shirley. Some of these are Shirley Valentine just wasnt there any more, a girl was born to fly: all her dreams, dreams are broken. This introduction o f influencing words already paints a picture in the mind about the character before she is introduced, hence triggering impressions into setting the frame of mind to a sympathetic mode.Shirley is portrayed as a sad house bound woman, forgotten, not appreciated nonexistent (not liteary) [anymore] and a woman with a loss of identity.A girl is born to fly; This is shown as a metaphor, as she is supposed to be free but is trapped.The lyrics in the film prepare and give us many clues to what the film is going to be about and how the character is. The sounds we have are beautifully sung but with a twist, as it is infused with the characters sorrows and boring lifestyle. Again it shows us how people feel towards her, what she thinks of herself and what she thinks, other people feel about her, Shirley Valentine just wasnt there any more, a girl was born to fly: all her dreams, dreams are broken. The connotations shown in these lyrics are that, nobody appreciates her, just wasnt there anymor e, another meaning of this is that she has changed, disappeared, dreams have been crushed and personality change.The author uses conventions, for dramatic effects as the uses of colours influences how we are supposed to feel. Blue, is used throughout these sketches, and verifies, sadness, repetitive and dullness. Another convention used is the way the film is put together, the sketches fade into real life, establishing the fact that what was shown, in the overall boring and dull life, in these sketches are in fact a real womans life, inviting us to sympathise for that certain character, whos life is revealed to us.The pictures shown to the audience are in fact sketches of the character in domestic life, cleaning, cooking and mostly doing household chores in these sketches, plus the fact that she has a face always turned away shows us a sign of what I think is shame and that it is not what she wanted in her life to be like.The way the author further invites the audience to sympathise with Shirley Valentine is though character and action, by cunningly using the characters to influence how we feel towards certain characters feelings or lifestyle. In Shirley Valentine, her actions are shown in a certain way, urging us to sympathise towards her.The opening shows, Shirley talking to the wall, Hello wall. This prompts the reader to feel surprised and captures intrest along with questions as to why is she talking to the wall. The reader may believe the reason behind this abnormal behaviour is possibly the absents of friends, companion and most obviously because of loneliness. The author empathises that Shirley is lonely and how she tries to pass her time.Shirleys character also adds her own sarcasm Theres a woman three doors down talks to her microwave in this quote Shirley is trying to hide the fact that it is weird talking to the wall. Once more Shirley gains our sympathy because of the way she is treated, by another character or via to the way she acts. For exampl e what happened to her? Whats happened to Shirley Valentine? She got married-to a boy called Joe This demonstratives how Shirley herself causes sympathy towards herself. This reveals that she has changed dramatically, together with, the person she was before is long gone. The quote also shows that the change is not wanted, and she regrets that she has changed, into a more hushed and less social person, appealing sympathy.Character and action is also used to empathise, sympathy to the audience through, commiserate the ways the character is mistreated, welcoming us to sympathise towards this characters sorrow. Who the bloody hell are you talkin to Joe talks to Shirley in a very rude and unsatisfactory manner, encouraging us to sympathise with Shirley because of the way she is treated, plus misunderstood. Shirley may be talking to the wall for comfort. The quote further tells us that, her husband doe not understand her, and as a result of that Shirley could have started to socialise wi th the wall. Joe tends to abuse Shirley verbally quite often, in every day language, swearing,bleedin, shite, which also shows us that he is of working class.Once more, when a character is treated badly but is passive to the abuse. When Joes says well Im not eattin this, I am not eattin shite, and with a violent shove he pushes his plate along the length of the table. It hits Shirleys plate and both plates and their contents tips into Shirleys lap, But Shirley just sits there calm and dignified. The author, Willy Russell creates an aggressive image of Joe, the image given, is that he is a hostile and spiteful man, who mistreats his wife. Moreover he is portrayed to look that way throughout the whole play, as it looks as if he always acts that way.Russell uses a series of dramatic devices to build tension and intend effects, influencing the action of the play and the response of the characters and audience.The dramatic devices lure the audience into numerous expressions, creating sym pathy towards Shirley. Ten days Ive been secretly ironing and packin! Its been like livin in bleedin prison. Look, cooking all his meals for a fortnight. Theyre all in the freezer. Me mothers goin to defrost them and do all his cookin for him.This extract builds upon tension, since Joe does not know about the vacation, causing Shirley to sneak around. Another way this creates sympathy for our character, Shirley, is that she is not able to live in her house freely. Plus the way she cant openly talk to Joe her husband. When Shirley finally gathers enough courage to tell Joe about the vacation, he gradually builds up to explosion, Oh I get it. Thats the name of the game, is it? Im not gettin fed properly, cos youre savin for a foreign friggin holiday, well, Im tellin you now, you can forget it. I am not goin to no Greece. The twist to the tail comes as now Shirley is in a dilemma, Theses quotes show that Joes aggregation and the way Shirley is treated. As Shirley is restricted as, Joe expects her to listen to him, plus he implies that if he says no, she cant go at all. Even though Shirley is a fully grown woman she still has not got the freedom, she deserves. This quote also shows us that he does not respect or cherish her, the way Joe says Oh I get it. Thats the name of the game, is it? Im not gettin fed properly, cos youre savin for a foreign friggin holiday. Tempting us to feel sympathy for her as, she is trapped and she not able to make her own decisions. Therefore causes a dramatic dilemma, is she going to go, or stay.In addition the ways Willy Russell uses dramatic device to attract us the audience to sympathise with Shirley, has a huge effect, as it also involves the way the character is treated. This extract demonstrates a predicament of the way Shirley is neglected and moreover mistreated. What will he be like, eh wall? My feller? What will he be like when he finds out hes only gettin ships an eggs for tea?. Here Shirley talks to the wall asking what wou ld happen when she gives her husband egg and chips, it is almost like Shirley is afraid of what he might say, or do. This also shows that, Shirley takes in count of all Joes needs and is a typical housewife, meaning she has to cook, clean, and do the daily house choirs. This adds to the dramatic devices as Shirley is in a bad situation as she hasnt cooked a proper meal, which in the 1980s was a very big thing.Millandra also discovers the trip and gives her mother a hard time. Greece! At your age! You an that Jane! Its obscene Millandra is surprised at the fact of her mother is going to a foreign country with only a friend. In the 1980s woman where not allowed to do certain things and elderly married woman certainly had restrictions on what they were allowed to do and going to a foreign country with a friend was definitely a social no, no.Another aspect of the dramatic devices in Shirley valentine are the flashbacks, voiceovers and monolog used in the play. Flashbacks are often to fo rget about the present or because of loneliness, as in these quotes the author uses flashbacks to take us to the past where Shilrey tries to remember herself as she eas in her childhood. Nay, Im not kissin you like that, Shirley and Joe are deeply in love, as they are newly married she remembers how they used to be together as a couple. It also shows them communicating, with out using aggressive and abusive language towards each other. Shirley tries to remember the good time with Joe and treasures it. She also tries to remember how they used to be together, happy and full of affection for one another. The author uses this, as an audience we feel sympathy for her as she tries to remember the good times, and the way she felt loved and wanted. The flashback mostly focuses on Shirleys loneliness as she relies on the flashbacks, to make herself feel wanted and more involved.Another example of how Shirley tries to forget her pain and problems she has, Any way, they dont sell wine. Shirley is at the pub with her daughter, were she is told that the pub is in fact a wine bar, which only sells wine, Shirley is enjoying her short period of time with her child embracing every moment. Here Shirley is, evoking, the time when she spent, quality time with her daughter, which notifies us that, Shirley, is trying to forget her present problems and seclusion. As she suddenly jumps to a different scene, after she feels disappointed or miserable by trying to remember the times she most enjoys, it takes Shirley way form her retched, distressing and lonely every day life. Usually when people drink wine it is for socialising, whereas Shirley, drinks whilst cooking or talking to the wall. I like a glass of wine when Im doin the cookin-(to the wall) Dont I wall? Dont I like a glass of wine when Im preparing the evening meal?.Shirleys flashbacks are mostly based on Shirleys, loneliness, carving for companionship or maybe because she feels that something is missing in her, and its got so mething related to her past. Shirley misses her security, it seems like she is going into the past to the escape the present, as well as trying to told on to her happy memories. Going into the past memories and the feelings is sure sign that her present life is not what she was thinking and stimulation giving us another factor that we feel sympathy for Shirley Valentine as she is a middle aged woman trapped, stick in a route which she loathes shown in a number of sarcastic remark, one of which is Its the Eleventh Commandment. Moses declared it. Thou shalt give thy feller steak every Thursday.The language used throughout the play is working class, for instance, Shirley quite often uses; bleedin, drinkin, sayin, feller, big gob, cookin, and many more, in her every day language. His gives evidence that Shirley is of working class language. An example of the way Shirley speaks is, How the bleedin hell would I know then. This is an example of when Shirley, spoke as a teenager, Shirleys language suggests that she was in fact working class, as Shirley hasnt recently come across this type of language style, but in fact was familiar with it long before. Simple everyday language such as; Drinkin Sayin and presently, is said differently by Shirley. Showing us how the character is, feller, which is considered lower-class. Shirleys language is predominantly, common, whereas others around her, for example Gullian, uses more complex and sophisticated language. This draws apon kitchen sink drama, as mostly it is set on an average working class person, who has many problems. One sequence explains that Jane became a feminist after she found her husband in bed with the milkman. all men are potential rapists without any hesitation. Jane uses very strong and firm language, to express her feels. I wouldnt describe Shirley as a feminist, but a liberated person after her fling she rediscovers herself.In conclusion the writer invites us the reader to sympathise with Shirley Valentine by, creating a strong and powerful image of her in pain, shown in the character in action and dramatic devices. Russell uses places we think is worth our sympathy as he concentrates on certain areas and makes it a much bigger deal. The author uses the scene he believes most interests us, to his advantage to invite us to sympathise with Shirley. As well as highlighting the areas for us, in an obvious but effective way.We tend to sympathise with a Shirley when sadness is expressed, with lonelyness

Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power Essay Example

Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power Essay Example Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power Essay Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power Essay Essay Topic: A Long Way Gone Girl in Translation Hilarious Medea Metamorphoses Mythologies The Secret Life Of Bees The Tempest A2 English Literature Holiday Homework Assignment: for Mr Majewski: The Tempest by William Shakespeare and Translations by Brian Friel Compare and contrast the ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power. The modern linguist Norman Fairclough said, Language is power, implying that if you want to control a person or people, an event or series of events, or indeed the entire world, and have power over it or them, you must first control language. Controlling language is the key to both the initial act of gaining power, and then maintaining that power. We find examples of this throughout The Tempest and Translations, which share common themes and elements. To tackle a question which requires suggesting how the writers link language and power, it is necessary to look at the plays in just such a thematic way. The first and most obvious area in The Tempest where language is linked with power is the way in which prose and verse is used by different characters to different effect. Most notably, and especially for its irony, Calibans use of verse when Stephano and Trinculo talk in prose reverts the old ideas of rank, whereby people of higher status, (here supposedly the Kings butler and the jester) spoke in verse, and lower classes (the uncivilised Caliban) spoke in prose. Style shift refers to a method of speaking where a person changes their accent or mode of speech depending on whom they are speaking to and how they wish to be perceived by that other person. Consider: STEPHANO Mooncalf, speak once in thy life, if thou beest a good mooncalf. CALIBAN How does thy honour? Let me lick thy shoe. Ill not serve him; he is not valiant. TRINCULO Thou liest, most ignorant monster! I am in case to justle a constable This may well be a statement by Shakespeare that Caliban is not as sa(l)vage as he seems, and indeed, there are other indicators of this in the play, for example, the goodly old man Gonzalos speech in II.1.150-173 echoing de Montaignes essay Of Canibals, especially the Florio translation of 1603. It is probable Shakespeare read this essay, which essentially decries colonialism, and there is a copy of the essay in the British Museum, which appears to have his signature on it. The point of this is that Shakespeare, despite popular opinion that Caliban is the inferior of the trio, gives Caliban power over his superiors through language, and not only that, but power which is clear for any reader to see, sowing the seeds of our suspicions of Stephano and Trinculo the lesser of the three. They are finally confirmed as such in their drunken activities of IV.1, and their ignoring Calibans warnings of: What do you mean To dote thus on luggage? Lett alone, And do the murder first. If he awake, From toe to crown hell fill our skins with pinches, Make us strange stuff. (ll.230-234) As we know, Caliban is proved right, and all three suffer the consequences of their actions in their plot again Prospero. Also in The Tempest, Prospero illustrates his power over Caliban in teaching him how to speak. This once again brings in the idea of colonialism, a theme found in both plays, and one of great significance, because the colonised were often educated or civilised by being taught the colonisers language. We witness this in both plays. In The Tempest, Caliban intelligently recognises the damage being taught Italian has done to him; he says, The red plague rid you | For learning me your language! (I.2.364-5) However, Caliban uses the language he does have as a weapon against Prospero, to hurl insults at him; again, he says You taught me language, and my profit ont | Is, I know how to curse. (I.1.363-4). It is in this way that Caliban tries to regain some power over Prospero through the use of language. In Translations, Manus is the main voice of dissent against the English. In II.1, Manus purposefully talks to Yolland in Irish, when he knows English, in order to exert his authority or a power over him, and illustrate his resistance to the changes which are taking places courtesy of His Majestys government (I.1). Knowing Irish or rather knowing English but not using it is Manus weapon against the English, in the same way that Caliban swearing is his weapon against Prospero. And again, Manus intelligently recognises the damage which is being done to his country and his people through the colonisation, and that soon they will be subjects; but the difference here is that, some 300 years after Shakespeare was writing, Yolland too is able to recognise that Something is being eroded (II.2). Nevertheless, in the time Translations was set (early 1800s), British colonisation and the British Empire were still the pride of the country, as they were beginning to be in Shakespeares day, and were set to remain so for at least another 100 years. It is this that makes Shakespeares quiet, almost hidden voice of disapproval over colonialism through Caliban and Gonzalo dangerous, especially since The Tempest was shown before James Is court. Manus open voice of disapproval is also dangerous; for the English, it casts suspicion on him and implicates him in a crime at the end of the play in which he had no part. Unlike Shakespeare, and thankfully for Friel first publishing in 1981, the power of his characters disapproval through language could remain overt. Moving on, names are very important both in The Tempest and Translations in order to express power. The name Prospero, for example, comes from the Latin verb prosper meaning, to cause to succeed, while the suffix o is the pronoun I. This is a fitting name and since Prospero is the all-powerful wizard of the play, it is appropriate that his name should translate to I cause to succeed. In fact, not only he succeeds in his goal of regaining his dukedom, but also his daughter and Ferdinand succeed in their goal of marriage. Miranda means admired or to be wondered at, thus, on telling Ferdinand her name, he exclaims Admired Miranda! have connotations for the bearer and degrees of power appropriate to the language of their names. In Translations, names are patronymic, that is, characters are called their first name, then the name of their father, for example Doalty Dan Doaltys middle name is his fathers name, and his last name (the same as his first name) is that of his grandfather. The etymology of the name Manus is thought to be Magnus, meaning big, great, hand; Manus is after all his father Hughs right-hand man. Ironically, Manus is not as big or great as he would like; he consistently wishes to take over his fathers classes and get a better job. In this case then, Manus name is not empowering, but rather, making an ironic statement, much like Calibans name (so we have another comparison between the pair here!). Doalty means, I deny, oppose, refuse and renounce! This is a very powerful name and is suitable to Doaltys character; though his resistance to the English is mainly harmless and passive in the first act, and he does not appear in the second, the third act illustrates just how much knowledge has given Doalty power; his friendship with the Doalty twins implicates him in their illegal activities and makes him, like his name, deny, oppose, refuse and renounce the English. Captain Lanceys name and actions, especially in Act Three, reminds us of the powerful lance, a weapon of war and an instrument of death; while the peaceful and endearing Lieutenant Yolland is a combination of old and land, since he loves Ireland, and Yola, the name of the first wave of English settlers in Ireland, who, appropriately, gradually merged with the Irish, adopting Irish language and customs as Yolland does. Indeed, Yolland, undoubtedly unknowingly, adopts through convergence patterns of speech which fit in more closely with those of Owens, Hughs and Maires, seeking to show solidarity and gain approval in his dealings with these others whom he looks up to. For example, he preserves the Irish place names, and in order to woo Maire speaks the Irish place names which he loves and has learnt off by heart. However, when Yolland tries to do this to Manus, it backfires, as he perceives it as patronising (II.1). Lancey retains his authority exactly through opposing this, by emphasi sing the difference between himself and the community. It is this which gives him power. In Act Three for example, he makes Owen translate the Irish place names into English. This is known as maintenance. Both convergence and maintenance are aspects of socio-linguistics which refer to the identify the use of a name affords a place or a person. In addition to this, Lancey and Yolland show us how symmetrical and a-symmetrical systems of address or introductions occur. For example, in I.1., Captain Lancey is introduced as such to make the characters feel his authority, but then addressed by Yolland as George to illustrate the degree of familiarity between the pair. This has wider connotations with perception of social rank and stature for all the characters Im sure they couldnt fail to feel their inferiority, both to a captain, and to a lieutenant who is able to call a captain George. Owens name is perhaps the most important because it gets so confused by the English. Manus exclaims in Act One They call you Roland! They both call you Roland! And Owen, echoing Juliets That which we call a rose, | By any other name would smell as sweet (Romeo and Juliet II.2.) replies Its only a name. Its the same me isnt it? Well, isnt it? At first, even Manus agrees Indeed it is. Its the same Owen but by II.1, just a few days later, and during a process in the play through which Owen changes to become more pro-Irish and anti-English than he was before, he decides that his name is important and explodes at Yolland, demanding to be called by his proper name. Though they both find this absurd at the time and laugh hilariously (an effect of the poteen), implicit in their reaction is a mocking of the name book thereafter, a clear lack of respect for their work, and a cessation of viewing it as important or even necessary. This shows the power of language; it has the ability to change meaning and identities through something seemingly as simple as a name, things which have great effect both on individual and place. The fact remains that renaming the Irish people and places on the part of the English is a powerful resource for a dominant group which wishes to dominate and marginalize their inferiors. This is also a demonstration in the play of multi-faceted identity. Owen faces a crisis of identity when he realise his role in destroying the identity of Baile Baeg (incidentally, this means little home), and wishes to change it. This shift is, again, displayed through the language he uses, and the way he is so much more disrespectful to Lancey at the end of the play than at the start. Though this is all very well, we have no way of actually knowing if the characters know themselves what their names mean; Prospero almost certainly does, because of his vast knowledge and reading, and Manus, Hugh, and Jimmy Jack Cassey or the Infant Prodigy have such a good awareness of Greek and Latin that they almost certainly do as well. This may empower them more than a character like Lancey who may make no connections between his power over the Irish and his name. Additionally, naming and naming practises are a recurrent theme especially in Translations, showing how loss of language is powerful and can be viewed as loss of cultural identity. This has wider implications for social (the marriages), ethical (are Lancey/Prospero justified in their actions at the end of the plays?), political (who is truly Lord over the lands?) and national identities. The writers of The Tempest and Translations also present links between language and power through speeches and rhetoric in the plays. These give power to the speaker through their audiences attention to their words or language. Take the example of Prosperos many speeches in The Tempest. He clearly has a way with words, having, as Miranda puts it, a tale that would cure deafness (I.1.106). Becoming a demagogue means not only that people listen to you when you speak, because of your authority, but also that they actively seek out opportunities of listening to you, and are enraptured when they do. Interestingly though, Prosperos longest speech is a soliloquy in V.1. where he borrows Goldings 1567 translation of the sorceress Medeas speech in the 7th book of Ovids Metamorphoses (particularly lines 265-77). This is even more interesting because it is here, in this speech, that Shakespeare reveals the limitations of his power; that his magic is of the rough variety (I.1.50). This has been hinted at before when we learn that Prospero had to wait for the influences of A most auspicious star (I.1.182) in order to be able to draw the court to the Island and have them under his influences. The non-repentance of Antonio, Sebastian, Stephano and Trinculo also all measure the extent of Prosperos power. While he is able to drive them to distraction, he is unable to make them repent form their sins; he does not truly forgive his brother when he says I do forgive | Thy rankest fault all of them (V.1.131-2), but simply ignores his actions because he cannot do anything about it. Antonio has not changed and Prospero knows it. Given a second chance his brother would do the same. As C. S. Lewis puts it in The Problem of Pain (Chapter VIII: Hell; page 97; published Fount 1968): To condone an evil is simply to ignore it, as if it were true. But forgiveness needs to be accepted as well as offered if it is to be complete: and a man who admits no guilt can accept no forgiveness. In this way, Antonio cannot be forgiven, even if Prospero truly wanted to. Here then is Prosperos failure. It is the point at which his art stops short (The New Penguin Shakespeare, Introduction, p.29, by T. J. B. Spencer), and language is powerless to help him. The point of all this is that his name, which empowers him, his language, which empowers him, and all else, is not the ultimate source of his power; his magic is; and because it is limited, so he is limited. Here then, the writer of The Tempest has presented the links between language and power, but has weakened them through he involvement of another force magic. Importantly though, it is only through language that we learn the involvement of this greater force, and its restrictions. However, it is significant that this is revealed to us in a speech which no one else can hear. It is as if he is keeping it a secret; if no one else knows, or hears, it cannot be generally known. Therefore, he ironically retains the full extent of his power, though admitting its weaknesses, exactly because he chooses to deliver it in a subtle and discrete way in the language he uses, and at a time where no one will remember. He almost slips it in where no one will notice, not even readers who read and re-read The Tempest again and again. The great demagogue in Translations is Hugh. We know he is important even before he enters because the other characters speak about him so much; no fewer than 11 times in effect. His speeches serve a rather different purpose to Prosperos; Hughs speeches, which are altogether shorter, serve as the philosophising force behind the play. Examples include him discussing the nature of Irish: [to Yolland] Youll find, sir, that certain cultures expend on their vocabularies and syntax acquisitive energies and ostentations entirely lacking in their material lives. I suppose you could call us a spiritual people. And again; it us a rich language, lieutenant, full of the mythologies of fantasy and hope and self-deception a syntax opulent with tomorrows. It is our response to mud cabins and a diet of potatoes; our only method of replying to inevitabilities. (Both II.1.) Friel is not original in his ideas however. Irish novelist James Joyce presents similar ideas to Hugh in A Portrait of the Artist as a Young Man (1916), where the main character, Stephen Dedalus, thinks about how English has replaced Irish in Ireland, but of how the Irish people and writers have learned to master it. Many other Irish literati have taken this theme also in fact, Nobel prize-winning poet Seamus Heaney wrote a poem where he meets the ghost of James Joyce who advises him on art and language (Station Island part XII, pub. Faber Faber, 1984). Clearly then, language for the Irish is a national preoccupation; and it is these cultural-linguistic aspects of language that involve Hugh. The sense he speaks gives him the authority power to be listened to and respected by Yolland, even if he is not completely understood. This is quite an evident link between language and power for Friel, and for us. Eventually, everybody but Lancey realises that by changing the place names from English to Irish and we have already shown how names are so important, because of their meanings they are losing their identities and histories. Yolland insists on Tobair Vree retaining its name, even though indeed, because Owen still knows the story behind it and how it got its name. Following on from the power afforded language through speeches, power is also afforded the speaker through language when they use persuasive discourse. The clearest example of this is the difference between Ariel and Caliban in The Tempest. These two characters share the common interest of their freedom but go about trying to get it in different ways. Most notably, Ariel is sycophantic to Prospero, trying to win his freedom by using subtly persuasive language. For example: All hail, great master! Grave hail, sir! I come To answer thy best pleasure, bet to fly, To swim, to dive in the fire, to ride On curled clouds. To thy strong bidding task Ariel and all his quality. (I.2.189-194) This gains him/her a lot. It makes him/her Prosperos bird, sweet thing and brave spirit, and gets him/her the promise from him that: Do [thy spriting gently] and after two days but from actions, admittedly; but the actions towards Caliban, such as locking him in a rock (I.2.343 ; 361), or making him gather wood in the desert (I.2.366), come from thoughts vocalized in language, used against him. The love scenes in The Tempest and Translations present another type of power through language emotional power. In The Tempest, the love scene is between Miranda and Ferdinand in III.1.. In Translations, the love scene occurs between Maire and Yolland in II.2., and there are some obvious parallels between it and The Tempest. Most obviously perhaps, they are both meetings of two different people from two different cultures. In The Tempest, though Miranda and Ferdinand have no barrier of language such as there is in Translations, because of their shared Italian heritage, they are still from different cultures. Miranda has been brought up in solitude on an island away from all civilisation apart from her father. It has to be explained to her by her father that Ferdinand is not a spirit (I.2.412-7). Meanwhile, the not only civilised but also sophisticated court has surrounded Ferdinand all his life. Despite this he still considers Miranda as the most beautiful and virtuous creature he has ever met. His language bears this out, and has the power to make Miranda fall in love with him Full many a lady I have eyed with best regard, and may a time Thharmony of their tongues hath into bondage Brought my too diligent ear But you, O you, So perfect and so peerless, are created Of every creatures best. (III.1.39-42 ; 46-8) However, language is again not the only power that is at work, and magic contributes as well as language to make Ferdinand and Miranda fall in love Prospero confesses to us that It goes on, I see, | As my soul prompts it. (I.2.420-1) In Translations meanwhile the discrepancies between the cultures of Maire and Yolland are even huger one from the civilised and sophisticated Britain, in a professional job for a decent wage, and the other a poor peasant girl speaking a backward language. In both of these cases though, this difference in their culture only unifies the two people more overcoming their differences is something of the power of their love. The second obvious similarity here is that of their profession of love. Compare Yollands I could tell you how I spend my days either thinking of you or gazing up at your house in the hope that youll appear even for a second to Ferdinands reply to Mirandas now farewell of Maires are particularly powerful because Yolland does not understand them. Indeed, ironically, and sadly since it gives us a hint of the tragic parting that is to come in the Third Act of the play, Maire wants a different thing to Yolland she wishes to go away with him, to England, or to anywhere. Yolland meanwhile wishes to live here, or stay put in Ireland. The power of their language for us as an audience is clear; except, despite that in both plays there are disapproving parties (Lancey, Manus and the Donnelly twins in Translations, and Prospero (supposedly) in The Tempest), the final effect in Translations is for worse, with death, heartbreak and destruction, whereas in The Tempest, it ends in a marriage, and thus becomes at once lighter. Power through language has various effects then, especially in this emotional power context. In Translations, there is a great deal of exploitation of language through translation. The translator is powerful because they have control, and the opportunity, whether used maliciously or otherwise, to change the meaning of the word or speech that they are translating through language. Friel makes quite an unconcealed link between power and language through this in Translations. The clearest example is Owens translation of Lanceys introduction in Act One. He visibly does not translate what Lancey says, sweetening his words so as to not worry the village-people and make the English operation seem more legitimate. Thus: LANCEY [The job is being done] so that the entire basis of land valuation can be reassessed for the purposes of more equitable taxation. OWEN This new map will take the place of the estate-agents map so that from now on you will know exactly what is yours in law. And the disagreement between Manus and his brother that: MANUS You werent saying what Lancey was saying! OWEN Uncertainty in meaning is incipient poetry who said that? MANUS There was nothing uncertain about what Lancey was said: its a bloody military operation, Owen! Finally, it is necessary to discuss the different forms of language and how the playwrights have used them to illustrate dramatically the links between language and power. The sociolinguistic aspects of language have already been mentioned when the importance of names in presenting links between language and power was discussed, so we need not go into any more detail of that here. Language, Society and Power (ed. Thomas and Wavering) suggests 5 main aspects of language excluding socio-linguistics. The first aspect is cultural-linguistics. This refers to the aspects of language which are cultural, such as names of places which are specific, and certain turns of phrase which would not be found elsewhere. In Act three, Hugh wisely recapitulates that: It is not the literal past, the facts of history, that shape us, but the images of the past embodied in language We must never cease renewing those images; because once we do, we fossilise. Though seeming to advocate the actions of the English here, Hugh is actually just confirming that every culture will have a different language because they have different pasts, and the past is captured in language. He explains why language has power in every culture because it makes the culture evolve it is the images of the past embodied in language that shape us and stop us from fossilising. Also, the person controlling the language, controls the culture, and thus the people, and the history as well and that is a lot of power! In The Tempest, Prospero too involves himself in the cultural linguistic aspects of language when he teaches Caliban his language. Though this may be excusable because a noble-man of those times would have known no better than that their language was superior, he is never the less, by stripping Caliban of his own language which has its own meanings and past, stripping him of his identity; and here then is his power. Perhaps he would agree that We must never cease renewing those images; because once we do, we fossilise. Perhaps the question here needs to be, what is wrong with fossilising? The second aspect is aesthetics. In Translations, the Infant Prodigy is the character most interested in the aesthetics of language, or how language sounds, and the beauty of language. He is not interested in language as a form of communication, and is therefore not really interested in the Anglicisation going on around him. It will not affect him because he probably will not be around long enough to see it! This is a type of power and he is completely untroubled and unsuspecting at all time, because he appreciates language for what it is, as a poetry, rather than as a weapon in the way Manus or Lancey is using it. Yolland is the other character in Translations who loves the poetry of the language, except he prefers Irish to Greek and Latin. In II.1. he repeats the Irish places after Owen, allowing their sound to wash over him like a yogic mantra. This empowers him to speak with Maire and gives them common ground during the love-scene. In The Tempest, it is the spirits who most clearly use language for its beauty and its sound. Apart from Ariels common speech, the masque (IV.1.) is an amazing example of saying nothing in endless sentences and making it sound pretty (F. R. Leavis commentary on Henry James comes to mind)! Essentially, the plot of the masque is very simple but it is drawn out to show off special effects and elaborate costumes which were the delight of the court in James Is time. The New Penguin Shakespeare Commentary on The Tempest (p.167) explains: The verse of the masque is set off from the that of the play proper by its formality and deliberate artifice. It is filled with archaic or uncommon words and invokes a deliberately unreal, remote, mythological world [much like Jimmy Jack]. At the same time, it contrives to admit glimpses of a genuine English countryside [just as Jimmy compares ancient Greek goddesses to the Irish parish girls], and to maintain a delicate balance between those ideas of warmth and increase appropriate to a betrothal ceremony. The third aspect is communication. Language is the most important element in communication, not only what we say, but how we say it, in what tone of voice and what context. In Translations, Sarah embodies communication. After learning to speak when manus was there, she knows that language wont come back to her once hes gone because the lines of communication between the English and the Irish have broken down. This is shown most clearly in Act Three. Owen tries to persuade her otherwise but Sarah is quite accepting and shakes her head, slowly, emphatically, and smiles at Owen. The she leaves. (Stage directions). Being not able to speak is in some ways even more powerful than being able to speak. Precisely because Sarah is so quiet we notice her by her absence; she is conspicuous by her silent presence. It is a powerful symbol that communication should be silent for most of the time. Interestingly, Sarah is dominated by everyone in the play, Manus, Owen, and then Lancey who is very dem anding of her. In The Tempest, there is more than one example of broken communication; between Caliban and Prospero/Miranda, and Prospero and Antonio. The hostilities between these characters are clear throughout the play and illustrate the power of hate and jealousy. It isolates Caliban and turns his frustrations outwards to plotting against Prospero, and it makes Sebastian plot against his own brother in the same way Antonio did against his. This is expressed through language and action: Prospero says of Caliban that he is: A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost. And as with age his body uglier grows, So his mind cankers. I will plague them all Even to roaring. (IV.1.189-193) The fourth aspect is non-verbal communication (NVC), opposed to linguistic communication as above. Often, body language can show us things that speech hides, and can give off contrary signals, and what cant be done through language can be done through physical appearance and action. Both Friel and Shakespeare keep tight reigns on their characters movements through stage directions. Friel describes his characters through from what they wear, to how old they are, what type of hair they have, what their characters are, as well as foibles such as reacts physically when embarrassed or pleased [referring to Doalty]. Yolland and Maire present the clearest example of NVC in II.2. where they cannot speak each others language and therefore must rely on their actions. Here, the author has the power through language to make his characters whatever he wills. The Tempest meanwhile is Shakespeares most heavily directed play, perhaps because it was first in the Folio of 1623 and needed to give a good impression to someone picking up a book. The New Penguin Shakespeare Account of the Text (p.179) confirms: The result, neatly and intelligently divided into Acts and scenes, equipped list with a of characters and meticulously punctuated throughout, stands as perhaps the cleanest of Shakespeares texts. The fifth and final aspect is miscommunication, or the potential for it. In Translations, Owen clearly mistranslates Lanceys speech at the end of Act One, so that the people (except those who understand English such as Manus and Hugh) are unaware that the English are performing a bloody military operation. This reinforces the power he yields through his use of language. In II.2., Maire thinks she may have said something rude when Yollands reaction to her perfect recitation of In Norfolk we be sport ourselves around the Maypole is shock, and this shows the power language has when we use it and do not know what we are saying. It also shows the importance of audience; much of what we say, no matter our intentions, is perceived differently than how we anticipated. And finally, there is a potential for miscommunication in changing the place names so that they loose their meaning. In The Tempest meanwhile, there is miscommunication in the comical scene in III.2 when an invisible Ariel enters and causes havoc for poor Trinculo who is accused of reproaching Caliban for lying when really it is not him at all! Enter Ariel, invisible CALIBAN As I told thee before, I am subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island. ARIEL Thou liest. CALIBAN (to Trinculo) Thou liest, thou jesting monkey, thou I would my valiant master would destroy thee! I do not lie. STEPHANO Trinculo, if you trouble him anymore ins tale, by this hand, I will supplant some of your teeth. TRINCULO Why, I said nothing. (III.3.41-50) This is particularly good for a demonstration of language and power because this misunderstanding, though disguised because of humour, shows how violent Stephano can get towards one of his best friends, threatening first to hang him from the next tree (l.36), then later to knock out his teeth (using, appropriately, the word supplant, like he wished to overtake the island), and then, later still, threatens to cut him open (l.70) and then he actually hits him (l.77). There are many ways in which the writers of The Tempest and Translations have dramatically presented the links between language and power; through use of prose and verse by different characters, through education and colonisation, through use of names and renaming, through speeches and rhetoric, through persuasive language and through love scenes, through translation and through the six different forms of language. All these just begin to show the varied and skilled ways in which William Shakespeare and Brian Friel, in their own ages and in their different plays, share common elements and themes which make their works comparable in just such a thematic way.

Roman Catholic Communion Essay Example | Topics and Well Written Essays - 1250 words

Roman Catholic Communion - Essay Example Hence, when it comes to rituals, Communion tends to be an important ritual in the Roman Catholic religion. Communion in the Roman Catholic religion not only extends a sense of belonging to the Roman Catholics around the world, but also helps them stay connected with the essential beliefs and values associated with their religion. In the Roman Catholic Church, communion tends to be the source and centre of the Roman Catholic religion. Communion tends to be the high point of any Roman Catholic mass. In the Roman Catholic Church, communion happens to be an important sacrament. It is a way and means to reach Jesus. The Ritual of Communion The communion in the Roman Catholic Church begins with an opening prayer. The clergy conducting the mass makes a sign of cross and says the opening prayer. The clergy formally welcomes the believers attending the mass and offers prayers for the well being of the parish and the community. After the opening prayer, the clergy starts the reading of the scr ipture. It does need to be mentioned that the reading of the scripture in a Catholic communion is not random or haphazard, but rather it follows a liturgical calendar. The Catholic Church has prescribed the readings for each and every day of the year. This practice of affiliating to the same reading on a particular day at the Catholic Churches placed all across the world, lends a sense of community and camaraderie to the people following the Catholic religion. The reading of the scripture is followed by the Lord’s Prayer. Once the Lord’s Prayer is said then begins the sacrament of communion. The priest offers to the believers gathered in the Church for the mass, the bead dipped in wine, which at a symbolic level is taken to be the blood and body of Jesus, offered to the believers so that it could atone for the sins committed by them (O’Collins & Farrugia 250). It does need to be mentioned that communion tends to be the most important aspect of a Catholic mass. T he Roman Catholic religion preaches that receiving communion is a must for the attainment of salvation. The other important belief associated with the Roman Catholic communion is that only a priest, who has been ordained in the apostolic succession, could manifest through Jesus Christ the imminent miracle of Transubstantiation, thereby changing the ordinary bread and wine into the blood and body of the Christ. Meaning and Significance of Communion It does need to be noticed that Communion or Eucharist commands a central place in the Roman Catholic form of worship. Baptism and Communion are the two sacraments that have been clearly mentioned in the Bible. It is held that the practice of Communion was actually started by Jesus Christ, and this ritual is clearly recorded in the Gospels. It was Jesus Christ who initiated the practice of the Last Supper where he offered bread to His disciples, telling them that it is His body, and then made them drink a little wine, saying it to be His b lood. Jesus told his followers to repeat this ceremony and the Catholic Christians have been practising this ritual right from the days of early Christians. The ritual of Communion owes its spiritual moorings to the sacraments relation to the actual sacrifice of Jesus on the cross. In the New Testament one many a times come across Jesus addressing himself as a sacrifice, thereby pointing towards his imminent sacrifice on

Why did the Native Americans failed to unify against the Europeans Research Paper

Why did the Native Americans failed to unify against the Europeans during the 1800's - Research Paper Example They arrived from where we now call Alaska2. Their culture was substantially different from the Europeans that arrived and later colonized the Americas and the differences led to much tension and conflict between the two races. By the 1800s a short time after the revolutionary war the colonists were beginning to push heavily west, encroaching on Native American land in an aggressive manner, causing heavy casualties in the already decimated population and forcing relocation on many Native Americans from their native lands to reservations as well as the enforcement of the colonists ideas and ideals on the natives3. One question that can be asked of this is why did the Native Americans not band together and fight back against their oppressors? The answers to this question are varied and complex and will be addressed in the following sections. The first is as a consequence of the culture and dispersed nature of the race. In addition, they paid a heavy price for any rebellion against the Europeans demands, and by this point in time the Native American population was already heavily decimated. ... The arrival of Columbus to the Americas, or as he identified them, the Indies, introduced a new form of culture and values into the area. As a race the Native Americans had a substantially different culture than the Europeans. Native Americans focused on the community as a whole, there was no ownership of property or possessions, rather these were shared among the tribe in order to meet needs6. Culture and history was largely passed on through oral tradition which involved the telling and re-telling of stories and lessons rather than writing, and as a consequence few documents remain from the race. In contrast, European culture centered on money, private property and individual ownership. The Native Americans were not one uniform race as the Europeans generally viewed them as. Instead they consisted of many distinct tribes and villages, although aware of each other’s presence, there was little interaction between them except during war. Tribes living on the plains were nomadic in nature, moving frequently in order to follow their sources of good. In contrast, Native Americans in the Southwest lived in brick villages and depending on farming as a food source7. Native American religion was not clearly defined, but there was a strong concept of a Great Sprit which provided for everyone and to whom every individual needed to show respect. This was in contrast to the European culture which held faith in a single God. Europeans were aggressive in nature and towards the religion too. They believed that it was their duty to convert the natives into Catholicism or Protestantism8. Both the Natives and the Europeans had completely different social structures as

Types of teachers Essay Example | Topics and Well Written Essays - 250 words

Types of teachers - Essay Example They are keen disciplinarians, and will often keep the students on their toes at all times ensuring that they follow instructions to the letter. Furthermore, they hardly ever negotiate with students and often give orders in which they expect to be obeyed unreservedly. Easygoing teachers are the opposite of the strict teachers; they are open to negotiation and will listen and discuss issues with learners before they give make a conclusion. Moreover, easygoing are patient with students; for instance, if a student is late in submitting a paper, they will allow them extra time to work on it and not penalize them. They rarely punish students and only do it as a last resort, are quite lenient in issues pertaining to both discipline and academics and are likely to overlook minor errors to motivate the student. The final group is the moderate teacher; such teachers combine both the characteristics of the authoritarian and easygoing teacher. They negotiate with students but will not hesitant to punish them if they find if fitting, they may allow students extra time to do assignments but will put conditions and will warn the stuns making them aware that they were irresponsible for not doing the work in time. Ultimately, every teacher uses the method he/she believe is best to educate their learners although the method chosen often has a lot to do with the teacher’s personal characteristics. However, the strict teacher model was more characteristic of teachers in the past, and today they are more likely to use a moderate method trying to get the best out of both

Phonics in Early Years Teaching

Phonics in Early Years Teaching Reading is important and motivates students to communicate and think critically and empowers them to learn a variety of lessons. Students in primary schools are still weak and not interested in reading either English or Malay books. They fall short in exams as they have not mastered reading skills and if this weakness is not rectified early, it will be disastrous for a student at secondary level. Reading is a complicated process more accurately described as a number of cognitive processes happening at the same time Hjh. Hasnah Kula , the Senior District Education Officer ( Brunei III ) emphasized how important reading ability in Brunei is and this ability needs to be cultivated from the early years (Primary school) . Reading is about understanding written texts. It is a complex activity that involves both perception and thought. Reading consists of two related processes: word recognition and comprehension. Word recognition refers to the process of perceiving how written symbols correspond to ones spoken language. Comprehension is the process of making sense of words, sentences and connected text. Readers typically make use of background knowledge, vocabulary, grammatical knowledge, experience with text and other strategies to help them understand written text. Teaching struggling readers to read takes time and patience. Many teachers are concerned about the numbers of elementary children who struggle with reading. Such concerns are warranted. Studies indicate that when students get off to a poor start in reading, they rarely catch up. Struggling readers encounter negative consequences such as an assignment to special education classrooms or participation in long-term remedial services. Further, as they progress through the grade levels, the academic distance from those who read well grows more pronounced (The Learning First Alliance, 1998; Rashotte, Toregesen, Wagner, 1997; National Reading Panel, 1999; Torgesen, 1998). Why do some students struggle with reading and what can be done to increase their success? These questions plague teachers and parents and are ones that compelled them to search for answers. 1.1 Background of the study Decoding is the ability to apply the knowledge of letter-sound relationships, including knowledge of letter patterns, to correctly pronounce written words. Understanding these relationships gives children the ability to recognize familiar words quickly and to figure out words they have not seen before. Although children may sometimes figure out some of these relationships on their own, most children benefit from explicit instruction in this area. Phonics is one approach to reading instruction that teaches students the principles of letter-sound relationships, how to sound out words, and exceptions to the principles. Therefore, appropriate early direct instruction seems to be the best medicine for reading problems. Reading is not developmental or natural, but is learned. Reading disabilities reflect a persistent deficit, rather than a developmental lag in linguistic (phonological) skills and basic reading skills. Children who fall behind at an early age (K and grade 1) fall further and further behind over time. Longitudinal studies show that of the children who are diagnosed as reading disabled in third grade, 74% remain disabled in ninth grade (Fletcher, et al., 1994; Shaywitz, Escobar, Shaywitz, Fletcher, Makuch, 1992; Stanovich, 1986; Stanovich Siegel, 1994). Lack of phonemic awareness seems to be a major obstacle to learning to read (Vellutino Scanlon, 1987a; Wagner Torgeson, 1987). However,in Brunei , it was only in Year 2009 that the phonics approach for teaching reading was introduced . It is one of the approaches that is included in the new educational system,known as the SPN21, where the phonics approach needs to be implemented in teaching reading and writing to Preschool and Year 1 students . The action was also taken in response to a national report which indicates that about 76 percent of students in Year four and 44 percent of students in Year six had not learnt the basic literacy skills in Brunei ( National Study of Student Competencies in Mathematics and English , 2008). In an effort to introduce teachers to the phonics approach, the Ministry of Education had conducted workshops especially for the English language teachers which aims to provide them with the phonics approach knowledge and how it is taught . 1.2 Statement of the Problem Having an effective teaching instruction such as the phonics approach to teach reading in a classroom would be a relief for any teachers who face problems with students who are unable to read . However, not all students could achieve the same level of reading in a classroom even though the same approach was used and was found to be effective with others. While most students are ready to read on a higher level, effective classroom teachers might recognize that some students are lagging in reading skills. Those students who are not strong readers often are not as successful as they could be in a given content area. Their progress is slow without the help of an observant and effective teacher. This is where a remedial reading program is needed to help these struggling readers to read . In most schools in Brunei, children who have problems in reading are placed in a remedial program through a pull-out system (students are taken to a special room during a particular lesson for a remedial session ) which is run by a special education teacher . However, the remedial lessons were usually implemented for teaching reading in Bahasa Melayu and as a result the reading problem in the English language remains . As for the school in this study,the remedial reading session was run on the initiative of the English language teacher during the English lesson itself. This was seen to be ineffective because this respective teacher found it difficult to provide extra time during the lessons to help these difficult readers because the teacher would also need to deal with some other average students who might need help during the lesson . Therefore,the remedial reading sessions were not consistently done with these difficult readers. A successful remediation requires direct, intensive intervention with an effective program. Effective remediation is not teaching down to a lower level, helping the students learn ways to manage his reading difficulties, or continuing practice of impaired reading. Effective remediation directly builds necessary skills so the students acquire the necessary skills and can advance. To read proficiently the student needs to convert print to sound and develop phonologic processing pathways. ÂÂ  After fundamental phonemic processing is established the student needs to build advanced skills. Effective reading remediation programs directly develop all skills necessary for proficient reading. Phonics could be useful to teach reading to difficult readers in the Primary school, especially in terms of getting them familiar with the sounds of each letter. Moreover, they need a program which can help them to read in a short period of time so that they might not fall back too far from other students of their levels. Ignoring them and hoping that somehow they would catch up and be able to read like their fellow classmates is likely to create problems in the future. 1.3 Purpose of the study This study aims at achieving the following objectives : To explore the implementation of the remedial reading program using the phonics approach for difficult readers in a Year 4 class. To measure the reading achievement of these difficult readers within 3 weeks of daily remedial sessions (30 minutes per day). To promote a suitable time (outside the classroom lesson) for the teacher to run a remedial session with the difficult reading students. 1.4 Research Questions How is the remedial reading session in the school being conducted? How much is the phonics knowledge being included in the program? What is the impact of a constant reading remedial session with difficult readers on their reading performance using a Synthetic phonics approach? To what extent would a morning session hours (before the classroom lesson) and recess hours could be spent for remedial reading session . How much could the students improve from these sessions? 1.5 Significance of the study One of the major struggles of the primary school teachers is how to identify the most effective ways to teach their students how to read, especially with all the different learning styles among children. Children come to school with varied reading abilities and literacy experiences. All children have the ability to learn to read but at different rates and in different ways (International Reading Association, 2000; Moore Whitfield, 2009). It is essential for a teacher to have a comprehensive knowledge of the reading process, the ability to observe and assess a students strengths and weaknesses, and the ability to adapt ones teaching in response to the learning needs of the students (International Reading Association, 2000). It is the responsibility of the teachers to provide reading instruction that meets the needs of these diverse students. Teaching students to read is one of the most challenging things in teaching because teachers would need to be alert with their teaching approaches or instructions so that they meet each and every children needs in learning to read .And while many children follow a typical pattern while learning to read that allows their individual differences to be met with one program, those who do not follow that pattern often fall behind. Many remedial programs are simply a slower version of reading programs used for typical students, but these dont necessarily work for atypical learners. Thats why it might be more effective to develop remedial programs for specific students. Therefore, throughout this study, it was hoped that the result of the research can be beneficial for English teacher in structuring a remedial program for their difficult readers and to get them to reflect on their efforts in helping the these students to learn reading . It was also hoped that the results would be able to make the teachers, school administrator and the curriculum developers of the school under study to realize how important a synthetic phonic approach is to be included in the remedial program . 1.6 Limitations of the Study This study however has its limitations . These include the length of research time , small samples used and also the different reading difficulties of the participants . The sessions were conducted over a three-week period only where the participants were taught five times in a week ( 2.5 hours in total) . The study only involved two students from a Year 4 class in a selected school in Brunei Muara District (small sample size) . The reading difficulties of the participants might be different from others because difficult readers might have so much difficulty in applying the phonics skills and therefore this might vary the instructional approach used in this study with other settings. Thus , the findings of the study should be interpreted with these limitations in mind . 1.6 Definition of Terms The terms below were used in this study: Letter- sound relationship : Skills associated with sound-letter knowledge: the awareness of how spoken sound and written letters relate to each other in the English language the names of letters and the sounds associated with them the ability to recognize words previously seen the ability to apply knowledge of how sounds and letters are related to each other to figure out the pronunciation of words not seen before, which is known as decoding (Shedd, 2008) Phonemic Awareness This skill involves the ability to manipulate and understand sounds, and the relationship between sounds and words. For example, children learn to recognize that two words sound alike (or rhyme), and can identify the first or last sound in a word. They are able to manipulate sounds in words to make up new words (eg might without the /t/ sound is my), and recognize that sentences are made up of separate words. (http://elr.com.au/phonological/design.htm#a03) Difficult Readers Students with the following reading problems : difficulty in matching sounds and letters has trouble in reading and spelling phonetically decode in a very laboured manner Remedial Lessons Lessons conducted especially to help low achieving students which is designed to help these students to improve and simplify their learning difficulties and to catch up with other fellows of the same levels. Phonics Teaching reading by training the students to associate letters with their sound values.

Snake Symbolism in Cleopatras Suicide Scene :: Egypt History Essays

Snake Symbolism in Cleopatra's Suicide Scene Abstract An asp bite creates a particularly awkward, excruciating death. The asp venom causes blood poisoning and an intense burn at the site of the wound. This burning is quickly forgotten, however, as the bite victim fades into a state of giddiness accompanied by nausea and extreme thirst. Blood clots form as the skin becomes speckled with purple spots, and there is usually a considerable amount of swelling. The victim then goes into convulsions, vomiting, urinating, and defecating uncontrollably (Hughes-Hallet 106). This is not a death suitable for a Queen, let alone Queen Cleopatra. Nonetheless, writers throughout history have designated the asp to be Cleopatra's suicide weapon. Her death is described as either an ecstatic orgasm or a serene slip into eternal slumber. Analyzing her death with an eye for accuracy, we can see that it is highly unlikely that Cleopatra would have chosen to kill herself with an asp. "Asp" is an imprecise term, which referred to many various African vipers, all of which would have left her corpse looking less than beautiful. The death that Cleopatra is described to have experienced resembles the death caused by a cobra sting, not an asp bite. A cobra would have had to be at least four feet long to excrete enough venom to kill Cleopatra and her two maids (Hughes-Hallet 107). Since writers have taken liberties with their descriptions of Cleopatra's death scene, representing the asp in various ways, we should ask, "What does the snake symbolize in Cleopatra's suicide, and how does this representation affect the overall portrayal of the Queen and her suicide?" The snake has acted as a diverse symbol throughout history, representing immortality, evil, femininity, and masculinity. In the book Dream Animals, Marilyn Nissenson and Susan Jonas further reveal the awe that the snake has inspired throughout the centuries, "They [snakes] were believed to mediate between life and death, earth and sky, this world and the next" (19). The snake slithers through our subconscious, evoking varying associations. Cleopatra identified with the snake during her life, and it becomes even more highly symbolic in her death. By examining three movies (DeMille's Cleopatra, Mankiewicz's Cleopatra and the ABC version of Cleopatra) and two dramas (Shakespeare's Antony and Cleopatra and Mary Sidney's Tragedy of Antonie) different symbolic representations of the snake emerge along with contrasting depictions of the Queen of the Nile. These varying representations of the asp and slightly contrary portrayals of Cleopatra prove to us that we know very little about the eni gmatic ancient Queen. Snake Symbolism in Cleopatra's Suicide Scene :: Egypt History Essays Snake Symbolism in Cleopatra's Suicide Scene Abstract An asp bite creates a particularly awkward, excruciating death. The asp venom causes blood poisoning and an intense burn at the site of the wound. This burning is quickly forgotten, however, as the bite victim fades into a state of giddiness accompanied by nausea and extreme thirst. Blood clots form as the skin becomes speckled with purple spots, and there is usually a considerable amount of swelling. The victim then goes into convulsions, vomiting, urinating, and defecating uncontrollably (Hughes-Hallet 106). This is not a death suitable for a Queen, let alone Queen Cleopatra. Nonetheless, writers throughout history have designated the asp to be Cleopatra's suicide weapon. Her death is described as either an ecstatic orgasm or a serene slip into eternal slumber. Analyzing her death with an eye for accuracy, we can see that it is highly unlikely that Cleopatra would have chosen to kill herself with an asp. "Asp" is an imprecise term, which referred to many various African vipers, all of which would have left her corpse looking less than beautiful. The death that Cleopatra is described to have experienced resembles the death caused by a cobra sting, not an asp bite. A cobra would have had to be at least four feet long to excrete enough venom to kill Cleopatra and her two maids (Hughes-Hallet 107). Since writers have taken liberties with their descriptions of Cleopatra's death scene, representing the asp in various ways, we should ask, "What does the snake symbolize in Cleopatra's suicide, and how does this representation affect the overall portrayal of the Queen and her suicide?" The snake has acted as a diverse symbol throughout history, representing immortality, evil, femininity, and masculinity. In the book Dream Animals, Marilyn Nissenson and Susan Jonas further reveal the awe that the snake has inspired throughout the centuries, "They [snakes] were believed to mediate between life and death, earth and sky, this world and the next" (19). The snake slithers through our subconscious, evoking varying associations. Cleopatra identified with the snake during her life, and it becomes even more highly symbolic in her death. By examining three movies (DeMille's Cleopatra, Mankiewicz's Cleopatra and the ABC version of Cleopatra) and two dramas (Shakespeare's Antony and Cleopatra and Mary Sidney's Tragedy of Antonie) different symbolic representations of the snake emerge along with contrasting depictions of the Queen of the Nile. These varying representations of the asp and slightly contrary portrayals of Cleopatra prove to us that we know very little about the eni gmatic ancient Queen.

Managing Health and Safety at Work Act Essay

Review of health and safety roles and responsibilities Identify 2 pieces of legislation relating to health, safety and welfare relevant to the workplace I have identified, The Health and safety at work act 1974 and Management health and safety at work regulations 1999. The health and safety at work act 1974 is the primary piece of legislation covering all work related health and safety in the UK. It sets out employers responsibilities for your health and safety at work. The Management of health and safety at work regulations make the assessment of risks a cornerstone of UK health and safety requirements. Duties statute law imposes on both the manager and the team and the managers responsibilities contained within the organisations health and safety policy. The most important responsibility as an employee is to take reasonable care of your own health and safety and if possible avoid wearing jewelry and tie hair back when using the machines. To take reasonable care not to put other people , fellow employees and members of the public at risk by what you do or don’t do in the course of your work. You should co-operate with your employer, making sure you get proper training and you understand and follow the company’s health and safety policies. An employee should never interfere with or misuse anything that’s been provided for your health, safety or welfare. It is your duty to report any injuries, strains or illnesses you suffer as a result of doing your job. You should always tell your employer if something happens that might affect your ability to work eg becoming pregnant or suffering an injury. All employers must make the workplace safe and prevent risks to health and ensure that the machinery is safe to use, and that safe working practices are set up and followed. The employer needs to provide adequate first aid facilities and tell you about any potential hazards from the work you do and give you information, instructions, training and supervision as needed. Emergency plans need to be set up in case of emergency. Make sure that ventilation, temperature, lighting, and toilet, washing and rest facilities all meet health, safety and welfare requirements. Check that the right work equipment is provided and is properly used and regularly maintained. Ensure that the right warning signs are provided and looked after.Report certain accidents, injuries, diseases and dangerous occurrences to either the Health and Safety Executive (HSE) or the local authority, depending on the type of business. Explain what is meant by a ‘competent person’ in your workplace A competent person is someone who has sufficient training and experience or knowledge and other qualities that allow them to assist members properly. The level of competence required will depend on the complexity of the situation and the particular help you need. When getting help you should give preference to those in your own organization who have the appropriate level of competence which includes the employer themselves before looking for help from outside. You must consult health and safety representatives in good time on the arrangements for competent help. Identify 2 ways you can provide health and safety information, instruction and training in your team One way you can provide health and safety information is by using leaflets and posters around the work place. You can get these from various sites including: – Sector Skills Councils (www.sscalliance.org.uk); – UK Commission for Employment and Skills (UKCES)(www.ukces.org.uk); – trade unions or trade associations; – further education colleges; – private training organisations; – independent health and safety consultants; – employer bodies (eg Chambers of Commerce); and – qualification-awarding bodies. To find a course leading to an accredited health and safety qualification look at the Qualifications and Curriculum Authority website www.qca.org.uk/qualifications. Secondly you could offer on the job training or classroom based learning individually or in groups. Computer based or interactive learning is a very fast, accurate and fun way of teaching the employees.

Beowulf as an Epic Hero

An epic hero is the central figure who has superior qualities and risks personal danger to pursue a grand quest. Beowulf is a great epic hero because he performs many brave deeds such as risking his life for the greater good of society, and is significant and glorified by all people. Beowulf displays all of these heroic characteristics in many situations throughout the poem. Beowulf boasts and boasts about all of his great doings, but in the end he proves to everyone that he is as great as he claims to be. Most could say Beowulf is the perfect example of an Anglo-Saxon hero.First, Beowulf shows that he will do anything for fame, glory, and the greater good of society. He risks his life in many of his adventures in the poem to achieve these goals. An example of him risking his life for fame and society is shown whenever Beowulf decides he is going to kill the fire breathing dragon for the people. Beowulf shows his will to fight for what he desires whenever he says, â€Å"This is not your, nor is it up to any man except me to measure his strength against the monster or to prove his worth. I shall win the gold by my courage, or else mortal combat, doom of battle, will bear your lord away †(ll.682-687).Beowulf’s great courage and will to fight helps him to take down the dragon. Since Beowulf was so willing to risk his life for others, he gained much glory. People felt that all of the great deeds that he had done made him deserve glorification.Another example of Beowulf risking death to fight for people who needed his help, is whenever â€Å"In his far off home, Beowulf, Higlac’s follower and Hickman 2 the strongest of the Geats—greater and stronger than anyone ever in this world—heard how Grendel filled nights with horror and quickly commanded a boat fitted out, proclaiming that he’d go to that famous king, would sail across the sea to Hrothgar, now when help was needed† (ll.109-116). In this situation, Beowulf shows he cares about the greater good of society and will be there whenever help is needed. There are many other situations throughout this epic poem, that show Beowulf’s courage to risk his life for society and fame. Beowulf was always one to volunteer for  the risky situations in life.A second heroic quality that Beowulf possesses is that he performs many brave deeds. An example of these brave deeds is whenever he boasts about killing sea monsters in the ocean. Beowulf says, â€Å"A monster seized me, drew me swiftly toward the bottom, swimming with its claws tight in my flesh. But fate let me find its heart with my sword, hack myself free; I fought that beasts last battle, left it floating lifeless in the sea† (ll.286-291). Beowulf seizing the sea monster is only one of many brave deeds that he accomplishes throughout this epic poem.Beowulf preforms many brave deeds that no normal human being would dare try. Beowulf is a strong believer in his own personal strength. Be owulf says, â€Å"My lord Higlac might think less of me if I let my sword go where my feet were afraid to, if I hid behind some broad linden shield: my hands alone shall fight for me, struggle for life against the monster† (ll.169-174). Beowulf shows his bravery and courage by refusing to use weapons against Grendel. In this epic poem Beowulf preforms these many brave deeds because he has so much courage. He also has so much desire to conquer any challenge that comes his way.Thirdly, Beowulf is very significant and glorified. All of the brave deeds he accomplishes, and the strength that he possesses, gains him much respect and glorification from people. After Beowulf had defeated Grendel â€Å"The old and young rejoiced, turned back from that happy pilgrimage, mounted their hard hooved horses, high-spirited stallions, and rode them slowly toward Herot again, retelling Hickman 3 Beowulf’s bravery as they jogged along† (ll.534-538).People had a great love for Beow ulf’s bravery and looked up to him. Beowulf’s accomplishments were talked about among all people. He was a hero to many people. Beowulf was respected by all â€Å"and over and over they swore that nowhere on Earth or under the spreading sky or between the seas, neither south nor north, was there a warrior worthier to rule over men† (ll.539-542). People looked up to Beowulf because he accomplished many things that they had never seen anyone do before. People glorified his name because of his bravery to stand up for them. Beowulf is very significant and glorified throughout this epic poem.In conclusion, Beowulf had all of the great qualities of an epic hero. Beowulf preformed many brave deeds, risks his life for the greater good of society, and is very significant and glorified by all people. Beowulf never had a problem with putting himself in danger for the good of others. Through all of his grand quests he did nothing but prove to others that he truly is an epic hero. Beowulf was a great Anglo-Saxon hero and is still read and taught about today.

Keep your doing words doing - Emphasis

Keep your doing words doing Keep your doing words doing There are some words that just drag your writing down. Theyre heavy and dull,  and they have a nasty habit of lugging even more weight  in  with them. They make the person  reading your writing  work way too hard to understand your meaning. And,  the fact is, they  might not even bother.   The good news is that once you get used to recognising such words, you will be able to change them and quickly make your writing more clear, concise and direct. The doing word behind the thing What were talking about are nouns (things) that are sneakily hiding verbs (doing or being words, actions). For example, the noun discussion hides the verb (to) discuss. You can recognise a noun by the fact you put the, a or an in front of it (a discussion, for instance). These are called nominalisations. In fact, nominalisation is itself a nominalisation: to nominalise is to turn a verb or adjective into a noun. But dont worry too much about that. Watch the video to see what we mean: These nouns that hide verbs often end in -tion or -sion. Thats why we say you should shun the -tions. Its not the only ending (others include -ment, -age, -al and -ence). But its definitely something to look out for in your writing – especially if the -tion/-sion words start to pile up. Shun the -tions When you spot them, try to work out what verbs are hiding behind them. Then see if you can change your sentences to use the equivalent verbs instead. (For example, change We need a discussion to We need to discuss.) As youve seen, this will probably mean you can cut out other words too. Transform your writing in small, easy steps This video is an extract from online-learning programme, Emphasis 360, which is designed to transform your writing step by step, in practical, manageable, bite-sized lessons. You can access a full lesson from the course free of charge here.

Effects of bronchitis Term Paper Example | Topics and Well Written Essays - 750 words

Effects of bronchitis - Term Paper Example However, exacerbations of bronchitis are more common with the main pathogen being bacteria. The acute exacerbations are also severe in patients with chronic bronchitis. Chronic bronchitis affects 15percent to 25 percent of the adults and most of them suffer from acute exacerbations (Schlossberg 197). Chronic bronchitis is included in chronic obstructive pulmonary diseases (COPD). Chronic bronchitis is described as â€Å"the presence of a chronic productive cough for more than half of the time over two years† (Rubin and Strayer 564). Major causes of chronic bronchitis include smoking in adults and cystic fibrosis (Goljan 303). Pathological aspects or physiological abnormalities which predispose an individual to bronchitis include bronchial obstruction by abnormal secretions, mucociliary clearnance impairment, bronchial constriction and impaired host defenses (Schlossberg 197). Bronchitis leads to a plethora of manifestations and if not managed promptly can lead to serious conse quences. Chronic bronchitis is caused by hypersecretion of submucosal mucous secreting glands in the trachea and bronchi. This leads to sputum overproduction in chronic bronchitis. In many cases, as mentioned before, neutrophils or acute inflammation is seen superimposed on chronic inflammation. Chronic bronchitis leads to mucus plugs in the respiratory tract lumen hence causing respiratory tract obstruction. This blocks the release of carbon dioxide from the respiratory tract through expiration, hence the arterial PaCO2 will be greater than 45 mmHg in such patients. Chronic bronchitis also leads to goblet cell metaplasia and hypertrophy of mucus secreting glands. Patients suffer from dyspnea late in the disease and also exhibit cyanosi of mucous membranes and skin. This is due to poor oxygen saturation caused by hypoxemia. Thus, these patients are also called â€Å"blue bloaters†. The chronic inflammation and fibrosis

Trends Essay Example | Topics and Well Written Essays - 500 words

Trends - Essay Example The chief diplomat handling the situation in Paris, was given the go-ahead to negotiate a purchase deal with the French, somewhere between two and ten million dollars. To everyone’s surprise, Napoleon agreed to this deal but demanded a lot more. He wanted to continue his expansionary aims and for that he needed money, therefore, he offered the American government the whole territory of Louisiana for fifteen million dollars. Jefferson agreed to this and the deal was finalized in April 1803. Although Jefferson considered it to be a great diplomatic and political achievement, the deal was met with a lot of controversy. (Westward Expansion: The Louisiana Purchase, n. d.) By signing a deal with Napoleon, Jefferson was forced to ignore his limitations that were set by the Constitution. This deal was a defiance of the principles set up in the Constitution, and he also could not wait for a constitutional amendment, as that would have resulted in the failure of the deal. Although, it was not a very wise political move, the President still managed to gain support of the masses. America also did not have enough money to make the full payment; therefore, it was forced to take loans from the British government at six percent interest. Some people saw this purchase as a decrease in the political power of the United States. Also, the act of undermining the constitution to some extent set an example for future presidents, to stretch the constitution a little further, without making amendments to it. This was a poor example set by President Jefferson (Kelly, n. d.). The purchase of the Louisiana territory did add a considerable amount of land to America; it was met by various views. Some politicians thought that this act proved that the Congress could defy the constitution, if the majority of people in the Congress voted for the decision to be