Claptons recording Essay Example for Free

Claptons recording Essay A distinct genre of music originated between 1890 and 1910 drawing from elements of African American music, and emerging ragtime and jazz and this genre came to be known as the blues. The main instruments of blues music are the guitar, piano, harmonica, along with violin, mandolin, string bass, trumpet, clarinet, saxophone, and the drum set. From the late 1950s, following the incorporation of electric bass and keyboards into blues ensembles and the ascendancy of electric lead guitar and soul blues singing, blues experienced a slowdown in its evolutionary development within the American black community. This halt also coincided with the growth of white interest and involvement in the blues. And soon a few white solo performers, such as John Hammond, Jr. , began to emerge as blues specialists (Moore, 2002). This provided great impetus in the growth of blues popularity among American whites and internationally. Most of these performers continued to work within established contemporary blues parameters or explored and re-created historical sounds, creating new songs, sometimes developing new themes to reflect a more modern lifestyle, and maintaining a high level of instrumental virtuosity (Moore, 2002). While rock and blues have historically always been closely linked, blues-rock as a distinct genre did not arise until the late 1960s. The genre was originally British, with artists like Alexis Korner and John Mayall forming bands. John Mayall started a band called The Bluesbreakers in 1963, and he was able to recruit a young British guitarist named Eric Clapton in 1965. Eric Clapton is a British guitarist, singer, and songwriter, specially noted for his virtuoso guitar playing and whose style is based on American blues as played by T-Bone Walker, B. B. King, Muddy Waters, and particularly Robert Johnson. Clapton was influential in the development of rock music in the 1960s, playing with the Yardbirds (1963–65), John Mayalls Bluesbreakers (1965–66), Cream (1966–68), Blind Faith (1969), and Derek and the Dominos (1970–71). His first solo recording, Eric Clapton, featuring the hit After Midnight, was released in 1970. In seclusion from 1971 while battling heroin addiction, he resurfaced in 1974 with 461 Oceanside Boulevard, which included a version of Bob Marleys I Shot the Sheriff. (Where’s Eric, 2006). Eric Claptons influences and upbringing played a huge role in his evolution as a blues musician. As a teenager, he was drawn to such blues masters as Big Bill Broonzy, Robert Johnson, Muddy Waters and Sonny Boy Williamson. Jamming in pubs and clubs, Eric soon joined the Yardbirds, a commercially performing group marked for great success. Eric Clapton left the band in 1965 and seeking a purer avenue to the blues, he briefly joined John Mayall The Bluesbreakers. Eric stayed for just one album and decided to break away mainly because the work rate imposed by Mayall left little time for fun. Moreover, Eric got bored of simply copying his blues heroes in John Mayalls band and felt it was time to turn his artistry into creativity. He also recognized a kindred spirit in Jack Bruce. In 1968 that Clapton formed Cream with Jack Bruce and Ginger Baker. This group showcased his talent at potent, extended guitar improvisations and produced vastly different original music including the hits White Room, Strange Brew and Sunshine of Your Love (Roberty, 1995) Eric Clapton, over the years has recorded many blues songs. But he always made it a point to provide benefit and credit to the original artists of blues music. Claptons recording of Skip James â€Å"Im So Glad†, was recorded when Clapton was a member of the power trio Cream. The credit obtained through this song was a huge help for original blues artist James; royalties from the recording paid Jamess medical expenses at a time when he was virtually destitute (Weissman, 2004). Cream folded two years later when Clapton left to form Blind Faith with Steve Winwood, Rick Grech and Ginger Baker. This group too did not last over a year and soon Clapton, in search of further freedom and expression recorded his debut solo album in 1970, joining forces with the American team of Delaney and Bonnie. It was then that he began to actively develop his vocal skills simultaneously working on the state of rock guitar, as part of Delaney and Bonnie Friends. He also worked with Derek and the Dominos, where, in the company of Duane Allman, he fashioned such enduring classics as Layla (Roberty, 1995). The early and mid-seventies was a time of great struggle for Eric Clapton as he battled with drug addiction. He had huge solo hits such as 461 Ocean Boulevard and also traveled a lot during this period. Albums in the mid-to-late 70s, such as ‘Theres One in Every Crowd’, E. C. Was Here and No Reason To Cry, were all Top 20 chart hits. It was an era defined by such Clapton-classics as Wonderful Tonight, I Shot the Sheriff,† Lay down Sally and the 1978 release â€Å"Slowhand†. Clapton began an amazing run of gold and platinum successes that continue to this day. Claptons place in music history had long since been assured but it is important to note that his popularity was largely due to his strong adherence to total musical integrity, which brought him, time and again, back to the basics of the blues. Recently Eric Clapton on the success of his blues album â€Å"The Cradle† has said: The bones of this thing are coming from inside me and my need to pay back all these people that I heard from Day One†. In this latest album, he has paid tribute to blues gurus such as Robert Johnson, Lowell Fulsom, Elmore James, Willie Dixon and the inimitable Muddy Waters. Thus, whether playing electric or acoustic, Eric Clapton remains the quintessential blues guitarist. Bibliography: Wheres Eric! (2006), A Brief Biography of Eric Clapton. Issue 39. http://www. ericclaptonfaq. com/biography-ecs-life-career/clapton-biography-mother-father-grandparents-wife-children-son-daughter-addiction-. html Moore, Allan (2002). The Cambridge Companion to Blues and Gospel Music. Cambridge University Press. Cambridge, England. 2002. Weissman, Dick (2004). Blues: The Basics. Routledge Publishers. New York. 2004 Eric Clapton: Blues You Cant Loose. http://www. iem. ac. ru/clapton/ Roberty, Marc (1995). The complete guide to the music of Eric Clapton. Omnibus Press. 1995.

Karen Newman Othello Criticism

Karen Newman Othello Criticism In her 1987 article And wash the Ethiop white: femininity and the monstrous in Othello,1 Karen Newman sets out re-examine prior critical analysis of Shakespeares Othello with the goal to re-read Shakespeare in ways which [] contest the hegemonic forces, [his] plays at the same time affirm (158). Her argument scrutinizes the the male-dominated Venetian world (152) of the play and the criticism that it has generated against correlating historical perspectives. Her main thesis about the play asserts that the union of Desdemona and Othello represents a sympathetic identification between femininity and the monstrous which offers a potentially subversive recognition of sexual and racial difference. Employing a feminist approach Newman reveals the racial and gender prejudices inherent both in the play and the critique levelled at it from 1600 through to 1980. In seeking new ways of reading Othello Newman draws on Derridas poststructuralist ideas to establish parallels between the relationsh ip of gender and race. She contends that Desdemona and Othello are equally marginalized by Venetian society; Othellos race and Desdemonas progressive sexuality presenting equivalent risk to the dominant white male society. In verifying how these attitudes pervade the play itself, Newman points out that fear of miscegenation functions on two levels. Firstly Shakespeare uses the white mans fear of the union of black man and white women (144) to generate the plot, and secondly through the binary opposition of black and white characteristic of the plays discourse. To substantiate she quotes from the play: Black ram tups white ewe and O, the more angel she, And you the blacker devil. The last line illustrates what Newman terms rhetorical miscegenation. Outlining the frequency with which black and white were used to denote polarization during the Renaissance, (145) she comments on how the emphasis in Othello of Desdemona as the idealisation of fair female beauty is usually read to emphasise the contrast between these two characters, and declares that contrary to early critics she views Desdemona not as a representative of opposition to blackness and monstrosity, as black is to white, but as identifying with it. Newmans assertion that the play is structured around a cultural aporia, miscegenation is the first cornerstone of her argument. Newmans next device is to establish a link between femininity and the racial attitudes inherent in the play. Again she refers to Ridleys criticism, claiming that his choice of example portrays a generalization of women as petty, thereby confirming his gender prejudice. Ridley has displaced the struggle of white against black man onto a cultural femininity. Newman is sympathetic to Stephen Greenblatts (1980) view that Othellos identity is reliant on his loss of his own origins, an embrace and perpetual reiteration of the norms of another culture, but criticises this focus as failing to recognise the other as black and female: Othello internalises alien cultural values, but his otherness remains apparent, dividing him from that culture and thereby linking him to the plays other marginality, femininity. Newman claims critical considerations with regard to the symbolic significance of the handkerchief reflect gender prejudices. Reigning critical preoccupations result in the significance of the handkerchief being limited to a sign of adultery. Contrasting this she terms the handkerchief a snowballing signifier, acquiring figurative and literal meaning as it passes from hand to hand. Newman contests psychoanalytical readings as problematic since they privilege a male scopic drama casting the women as a failed man once again negating her otherness and limiting female sexuality to fetish. (156) Identifying racial attitudes as inclusive of attitudes towards black sexuality, Newman references popular travel accounts of the time, outlining African as presented descriptively [] but also mythically (148) concluding: always we find a link between blackness and the monstrous, and particularly a monstrous sexuality. These attitudes Newman asserts assimilated into the drama of early modern England. (149) Newman observes the portrayal of Desdemona as voracious and devouring with a greedy ear; threatening to masculine perceptions of femininity. Her desire is presented in terms of an aural/oral libidinal causing Othello anxiety. Newman sees this anxiety as having a duel source the monstrous difference it invokes against his adopted culture, and that it allies her imagined sexual appetite with his own. Othello and Iago are linked in representing white male sexuality in the play. Simultaneously and paradoxically Othello also represents the threat to it. Newmans investigation of historic al criticisms surrounding femininity as represented by Desdemona, uncovers several ironies. Rymer and Cinthio in a cautionary moral link Desdemonas social disobedience to her sexual duplicity. Othellos punishment of Desdemona however simultaneously confirms the cultural prejudice which labels him a monster. In addition Iagos dramatic construction which leads Othello to see Desdemona as a whore, demonstrates how theatrical representation can provide false influence. Newmans undoubtedly subscribes to a feminist school of criticism, seeking to expose the nature of gender inequality and opposing the inherent male hegemony represented within the play. In addition, by her own account, her reading is also political in that it exposes the ideological discourses which organise the text. She comments that poststructuralist approaches highlight that even highly formalist readings are political, inscribed in the discourses both of the period in which the work was produced and of those in which it is consumed. Newman references Derridas work on racism and in addition to employing deconstructionist discourse his influence can be seen in Newmans design. Recognizing the binary opposition denoted by the polarization of Othellos blackness and Desdemonas whiteness, Newman develops this to assimilate the implied opposition of monstrosity or miscegenation represented by Othello and femininity represented by Desdemona. Deconstructive discourse incorporates the notio n that difference exists both between signified and signifier, and at the same time that the signified defers meaning to the signifier. The role of the literary critic is seen as seeking a slippage in the text, thereby denoting duplicity and revealing how the internal linguistic and thematic rules are inexact. Newman finds this critical slippage in both Rymers Short view of Tragedy (1693) and again in Ridleys criticism 250yrs later, to be the lapse from blackness to femininity. (155) Newmans approach offers new and valuable insights through its address of past criticisms, detailing not only how they relate to the ideology of the time they represent, but also illustrating how criticism in itself can be read to demonstrate new ideas and ways of reading the play. Her analysis however, places its emphasis on the Desdemonas interracial relationship with Othello and how her disobedience to her father and her choice of black man threaten the prevalent white male hegemony. Newman does not address other characters marginalised through class distinctions and gender. One such relationship is that between aristocratic Cassio and the courtesan Bianca. The secret nature of their liaison is both essential to the plot but also preserves Cassios social standing. Cassio treats Bianca with little respect scorning her foolishness in loving him. Cassio, Iago and Brabantio all share a mutual sexist prejudice in a similar way to the racist disdain which shapes their worldview. Othello can be seen to be outside this racial bigotry but Newman does not address the question of whether he accepts the central stereotyped perception of women. Newmans outline of historical womens roles focuses solely on a westernized version of society and does not address the way in which women were historically regarded within non-westernized cultures. Hinging on the underpinning social apprehension with regard to miscegenation, Newmans argument takes it lead from Bennetts notion that the position a text holds within relation to the ideology at its origin is not necessary an indication of the position which it may subsequently come to hold in different historical and political contexts. Some critics however claim Newman is anachronistic, applying modern concepts of racism historically. Shakespearian audiences would have understood race in a totally different way to contemporary audiences. It would then follow that Newmans application of contemporary ideas with regard to other cultural constructs such as gender would be equally out of place. Acknowledging that Shakespeare was certainly subject to the racist, sexist, and colonialist discourses of his time, Newman declares that by making Othello a black man and through Desdemonas love for him, Shakespeare stands in a contestory relation to the hegemonic ideologies of race and gender i n early modern England. Newmans argument is detailed and engages the play against historical points of view, addressing feminist issues and at the same time employing poststructuralist thinking to achieve her goal of establishing a link between femininity and race. Newman sees such strategies of reading as a social responsible in that they illuminate artificial enactment of works which may falsely represent those marginalised groups standing outside culture and simultaneously within it. This representation she sees as being obscured by the immediacy of dramatic performance. Her analysis of Othello is a demonstration of how seamlessly racial attitudes in early English drama where transmitted to viewpoints surrounding gender and sexuality, illustrating how mutually constitutive race, gender, and sexuality can be.

Accounting Essays Management Accounting Techniques

Accounting Essays Management Accounting Techniques Critically discuss the difference between activity based costing and throughput accounting. Changing external business environment has resulted in further developments in the tools and techniques used for management accounting. Traditional management accounting techniques had certain limitations associated with them, for instance, absorption costing methods have been found to be inappropriate in the modern environment. Similarly, standard costing suitability with respect to its general philosophy and detailed operations has come under severe criticism. It is believed that traditional management accounting performance measures can produce the wrong type of response. As a response to the limitations of traditional accounting techniques, activity based approaches has gained significant repute. The following paper will evaluate the activity based costing approach and attempt to highlight the inherent differences between activity based costing and throughput accounting approach. In the case of activity based approaches, the focus is on the activities that the business carries out as opposed to how the activities have traditionally been organised into separate functions. Activity based costing was thus developed because it was realised that older methods like absorption costing, which used labour hours as the basis for absorbing overheads, did not provide useful information about the cost drivers, in other words it did not answer for the question what was causing the overheads to be incurred in the first place. Generally, Activity Based Costing (ABC) is defined as an accounting technique that allows an organization to determine the actual cost associated with each product and service produced by the organization without regard to the organizational structure. Amongst various benefits associated with the ABC approach one of the major ones is that it helps to define the activities of the organisation in terms of value adding activities. In other words, as a result of ABC it is easy to identify which activities add value to the organisation. Identification of non-value adding activities helps in identifying where time, effort and money are being wasted and unnecessary costs being incurred. Advantages associated with activity-based approach are many. More generally it is said that activity based costing recognises the inherent complexities faced by many businesses in the present day, which results in the businesses having multiple cost drivers, many of them are transaction based rather than volume based.. These complexities arise due to businesses now having a broader product range and the business environment in general is more volatile and unpredictable. It is further argued that activity based analysis provides a more meaningful analysis of costs which provide a better basis for pricing decisions, product mix decisions, design decisions and production decisions. Besides activity based analysis is concerned with all overhead costs, including the costs of the non-factory floor functions (product design, quality control, production planning, sales order planning and customer service) and not just factory-floor overheads; thus it takes cost accounting beyond the traditio nal factory floor boundaries. In addition activity based costing helps in identifying the causes of increases in costs and thus it further helps in reducing costs. ABC can be used in conducting customer profitability analysis. Despite the advantages associated with activity based costing a number of criticisms have been identified. Theorists have argued that the costs of obtaining and interpreting the new information may be time consuming activity, thus it has been suggested that activity based analysis must only be introduced when there are provisions in the organisation to manage information to use in planning and/or control decisions. Secondly, it has been criticised on the grounds that many overheads do not relate either to volume or to complexity and diversity. Severe criticisms were also raised with the underlying principle of ABC, which is that activity causes cost. Proponents of this viewpoint argue that decisions cause cost or the passage of time causes costs or that there may not be any one clear cause of cost. Throughput accounting is an alternative to cost accounting based on Standard or Activity Based Costing (ABC) proposed by Eliyahu M. Goldratt. Throughput accounting claims to improve management decisions by using measurements that more closely reflect the effect of decisions on three critical monetary variables. It has originated from the Theory of constraints. Throughput accounting is an approach to accounting, which is largely in sympathy with the Just-In-Time philosophy. In essence, Throughput Accounting assumes that a manager has a given set of resources available. These comprise of existing buildings, capital equipment and labour force. Using these resources, purchased materials and parts must be processed to generate sales revenue. Thus, according to Goldratt and Cox (1984), given the above scenario, the most appropriate financial objective to set for doing this is the maximisation of throughput, which is defined as, sales revenue less direct material cost. According to Noreen et. al (1995), there are three building blocks in Goldratts theory namely, throughput1, operating expenses2 and assets3 (Goldratt 1990). and Profit is measured by throughput minus operating expenses and profitability by profits divided by assets. (Goldratt Cox 1992.). Managers are thus motivated to apply the theory of constraints (TOC) because it presents them with a new dimension of focusing their energies on cost reduction rather than on profit enhancement. From this perspective TOC is considered simple. The official definition of throughput is revenue minus total variable costs. However, some companies exclude all the other expenses, such as the variable selling and shipping costs, considering direct material the most significant factor. Thus, a simplified version of throughput accounting is also used. The visible difference between conventional and throughput accounting is the handling of direct labour, which is considered as a fixed cost. The variable cost nature of direct labour seems to be more a historical reminder than contemporary reality. In many companies, labour cost is, in practise, treated as a fixed cost. (Noreen et al. 1995.) Noreen et.al (1995) cited the example where Throughput Accounting has been successfully applied also with ABC. Southwestern Ohio Steel has implemented a pricing model based on ABC and Throughput Accounting. This model has been used to analyse and justify manufacturing cycle-time improvements. (Campbell 1995). Fritzsch (1997) argues that the essential difference between throughput accounting and ABC lies in the time horizon. ABC is recommended for strategic planning whilst, throughput accounting works better to meet short-term purposes. As the time horizons increase, the solutions produced by throughput accounting begin to look more and more like those produced by conventional cost accounting techniques. Applications of ABC in strategic planning appear to be well documented. It must be noted that ABC and Throughput Accounting are based on differing sets of assumptions that have an implicitly different time horizon thus claims of superiority of one approach over the other should be abandoned. It is however, possible to use both approaches together to achieve appropriate results. Some researchers claim that Throughput Accounting approach requires less data and effort than ABC. It is further argued that Throughput Accounting is easier to implement and operate; it sometimes provides insufficient information to guide management decisions. A frequent question is whether ABC is worth the cost or whether the TOC approach will be sufficient According to Etienne du Plooy4, Throughput Accounting is differentiated from all other types of costing systems because only the costs that are truly variable and identifiable to products, are allocated to the products or services produced. These costs are called Totally Variable Costs (TVC). All other costs that are not clearly variable with the quantity of products or services produced are pooled into Operating Expenses (OE). These costs which must also be recovered are not allocated to products. As Throughput is the rate at which the system generates money, and is calculated by subtracting the TVC from the selling price of products, Throughput Accounting puts the performance measures required to maximise business opportunity in place and thus enables management to take immediate corrective action when necessary. It has been further argued by Noreen et.al (1995) by that the ABC approach yields the same activity for the unused capacity information that Throughput Accounting yields. As a result of tracing operating expenses to products and to unused capacity, an ABC income statement provides additional information concerning the per unit profitability of each product that a Throughput Accounting income statement alone would not provide. Throughput Accounting has been considered as a perfect complement for many approaches such as the Theory Of Constraints and Total Quality Management (TQM). It is strongly believed that both labour and capital productivity are increased when Throughput Accounting is applied in organisations. It does not lead to inventory build-ups. It is considered more useful for management decision-making. It is closer to a cash flow concept of income and in its purest form it is based on the cash flows of transactions. It is applicable to any enterprise that has constraints. It is relatively inexpensive yet extremely effective. It consistently provides the right information for effective decision-making. It brings the organisation closer to its goal. To explain the difference between activity based costing and throughput accounting an example has been provided: ABC takes the information used in throughput accounting and adds monetary values. ABC differs from Throughput Accounting in that it traces resource costs to activities. After resource costs have been traced to activities, one divides the activity cost (required by ABC) by the activity capacity (required by Throughput Accounting and ABC) to arrive at the activity-charging rate (required by ABC). Next, that activity-charging rate is multiplied by the quantity of the activity costs driver demanded by each product from each activity (required by Throughput Accounting and ABC). Based on the budgeted number of units produced, each activitys budgeted production cost is compared to that activitys budgeted capacity costs to arrive at the costs of unused capacity for that activity (expressed in financial amounts by ABC and in non-financial amounts by TOC). 5 Conclusion From the preceding paragraphs it can be concluded that Activity based costing and throughput accounting approaches can be used together to achieve the best possible results for the organisation. Despite the inherent differences in the two approaches, they are both essential management accounting techniques, which will help the managers to make sound decisions regarding the future growth of the organisation. Thus in conclusion it can be said ABC and throughput accounting are both required to achieve the long term corporate objectives and for management accountants to arrive at sound managerial decisions relating to profitability of the business. BIBLIOGRAPHY [1] Eliyahu M. Goldratt and Jeff Cox, The Goal, 2nd Revised Edition, North River Press, Croton-on-Hudson, N.Y. [2] Jay S. Holmen, ABC vs. TOC: its a matter of time, Management Accounting (USA), Jan 1995 v76 n7 p37(4) [3] John B. MacArthur, From activity-based costing to throughput accounting, Management Accounting (USA), April 1996 v77 n10 p30(5) [4] John H. Sheridan, Throughput with a Capital T, Industry Week, March 4, 1991 [5] Richard V. C., Eugene J. C., and Gerald E. C., Beware the New Accounting Myths, Management Accounting, December 1989, pp.41-45. [6] Robin Cooper, Regine Slagmulder, Integrating activity-based costing and the theory of constraints, Management Accounting (USA), Feb 1999 v80 i8 p20(2) [7] Robin Cooper, Robert Kaplan, Activity-Based Systems: Measuring the Costs of Resource Usage, Accounting Horizons, September 1992, pp. 1-13.

George Gershwin Essay -- essays research papers

One of the most influencial composers of the 1920’s was George Gershwin. Gershwin was the most celebrated and wealthiest American composers of the 1920’s. In this paper I will discuss Gershwin’s life as a child and his upbringing and how his music expressed the dreams of every American Citizen by mixing different styles of music like Jewish, black, jazz, classical, blues and put them into one genre and created absolute music. George Gershwin was born in Brooklyn, New York on September 26, 1898. As the son of immigrant parents, Georges father had many jobs, so they were forced to live in many locations. George had two brothers, Arthur and Ira, and one sister, Francis. Although, George was the most well known of the family, his brother Ira was also a successful lyricist. Also, it was Ira’s interest in music that made their parents purchase the first family piano. However, it was George that took the immediate interest in playing the piano. George played by ear before his parents purchased piano lessons for him. George began to study music seriously at the age of twelve. After studying and perfecting his talent, under the guidance of Charles Hambutze, Gershwin was taught proper techniques, lyricism, and harmony. This opened up a the worlds of Chopin, Liszt, Debussy and Schoenberg (Ewen 58-60). Gershwin was offered a job at Remick’s Music Publishing House in Tin Pan Alley. Gershwin jumped at the opportunity to become the youngest pianist ever employed at the popular music capital of the world. Gershwin , at the young age of fifteen, quit school and became a song plugger. (Schwartz 21). The purpose of a song plugger was to make a song become a hit. Everyday hundreds of singers and actors came to Tin Pan Alley looking for fresh new materials. The song pluggers could improvise and transpose a song on the spot to fit a particular singer or actor. Soon, everyone was going to Gershwin to compose music. George Gerswhin 3 It wasn’t long before Gershwin figured out that he wanted something different in his life, and began composing for himself. In 1916, Gershwin had his first song printed and published. It was this first publication that led to him meeting famous lyricist, Irving Caesar. Gershwin and Caesar decided to work together on a Broadway musical. This was a dream come true for Gershwin, and a major turning po... ...gery and died on July 11, 1937 in Hollywood California. Ira Gerwhin saved a great deal of George’s work and shared it with younger people, including Michael Feinstein, whose recordings include some of Gerswhin pieces. Gerswins compositions are still today being played on mainstream media on a regular basis. Commercials feature Gerswins music regularly. United Airlines used Rhapsody In Blue for years as its marketing theme. H&R Block recently encouraged their clients to think of their services as â€Å"Someone To Watch Over Me.† Visa also used â€Å"I Got Rhythm† in their marketing theme. Motion Pictures still use Gerswhin’s music for their themes and plots. In Mr. Holland’s Opus, a student sings the love ballad â€Å"Someone to Watch over Me.† When Harry Met Sally featured numerous Gerswhin songs, including â€Å"Lets call the whole thing off.† George Gerswhin 7 Gerswhins music is studied by students everywhere. His talents are still gracing the world and his memory lives on through his fans and admirers worldwide. Gerswhins music will continue to be played and listened to by people worldwide and will continue to be an inspiration to music lovers everywhere.

How Wilfred Owen Presents the Horror of War in Dulce et Decorum est Ess

How Wilfred Owen Presents the Horror of War in Dulce et Decorum est In the First World War people wanted the young men to go to war, but no-one really knew about conditions of the fighting in the war. Wilfred Owen was one of the people who wanted to tell the public what war was really was like. He tried to do that through his poetry. One of his poems "Dulce et decorum est" shows the horror of war very well. We know that Wilfred Owen really does know what he's talking about as he served through most of the war and died shortly before the armistice. I am going to compare "Dulce et Decorum est" with other poems on the horror of war. "Dulce et Decorum est" is short for the Latin saying "Dulce est Decorum est Pro Patria mori" this means, it is a great and wonderful thing to die for one's country. Wilfred Owen tries to tell us that this is the opposite of what war was actually like. "Bent double like beggars under sacks" is how he describes the soldiers returning from the front line. This is not the patriotic view that the public was given. Wilfred Owen shows the horror of war by telling us that the young men in war were acting like old men who had trouble walking and are tired and weary from life. This isn't the image we should have of the young men that are going to protect the country and that they are the people the paper talked about. The poem describes a gas attack and alerts our senses by telling us the effects of the gas attack on a person that fails to put their gas mask on in time. By telling us things like that it alerts our senses and we imagine that we're choking and that it could be us that are choking and that ... ...et Decorum est" experienced, they experienced the direst horrors of 1914 war, they heard the shells dropping, they saw their friends die; they had to live in the trenches. Modern day war doesn't happen like this so the only people left to witness the horrors after they are dead are the family who have lost a son or a father or a brother. The poem is set out simply. It has two stanzas and has a simple rhyming pattern. I think this gives it a very simple understated mood that you would get when a child speaks to you about their day at school. This gives over the affect that war is only sad for those who understand it. The child who is speaking doesn't really understand the concept of war. I am given this impression because the child speaks of everything else first, and then last mentions the girl whose father died.

Medical Terminology and Healthcare

TBLS Week 1- TBLS Assignment BC1030X: Medical Terminology and Healthcare Setting & Claims Processing (7-30-2012) Section 13 Melissa Brown | Doing the exercises allows us to really look at how we can determine our future by enforcing positive thoughts and â€Å"self-talk†. OR we can destroy all possibilities by succumbing to negative† self-talk. † Today I made a conscious effort to push out of my head any negative â€Å"self-talk†. While I enhanced the positive â€Å"self-talk. † Doing both exercises allows me to really see the effects of both.I had never realized how my thinking and attitude plays such a vital role in every aspect of my life. The exercise allows me to see how I can take control over my future and even my today. How do I see myself? Well, self-examination allows me to see how my personality can positively affect others and more importantly†¦ myself. I am making an effort this entire week to use nothing but positive self-talk, acti on, behavior in every aspect of my life. I never realized how much a negative attitude, disposition and outlook affects me as a person. I have been unemployed for almost 4 months.I thought I had a job however, something went wrong with the drug test or background test and I just know they are avoiding me. I never heard of any test that takes a month to come back, so I assumed something went wrong. However, I just decided to keep putting in applications and I refuse to allow that to get me down. Positive thinking allows me to keep going with a smile on my face. I am grateful because I have a family that chips in and we will be ok. I found out what is necessary and actually what isn’t a necessity. And we are doing ok. I accredited God for that.So in that aspect a positive attitude allows me to wake up in the morning with a plan of action and I am actually enthused about it. That enthusiasm allows me to stay positive, think positively and make my day a pleasant day with all kind s of new possibilities. How I feel about myself inside reflects how others will see me. A smile can be contagious. If I am positive others around me will be as well. Self-examination and having control of our thoughts is something that I am sure with practice I can master. We will always have challenges and obstacles.I have learned how we see them, deal with them and behave plays a vital role in the overall outcome. I have faith and devoted to the most high, as a servant I believe that he gives us the empowerment to control ourselves in a manner that allows us personal growth, strength and control over ourselves. We can benefit by staying positives self-examination, and correction and that is shown in our attitude, behavior and focused on our goals. Exercise: TBLS-self talk snapshot What’s going on up there http://www. positive-thinking-for-you. com/positivethinking. html

Film Techniques Essay

Shots wide shot- a wide shot is a shot that shows the setting as well as the character. This kind of shot is used so the audience can understand the characters physical experience with the setting. normal shot- a normal shot usually shows the characters waist and up. This is a standard shot that helps to focus attention on the action. close up- a close up shot is a shot in which the camera focuses on a characters face or a particular object this kind of shot is so it can grab attention. This is used to sometimes show emotion or tell that the object is significant or important to the storyline. Angles high angle- a high angle is positioned above the character or objects. This is usually used to make the character or the object appear smaller, scared or vulnerable. eye level- this angle gives a ‘real life’ effect, as the camera is positioned towards the character or object. This angle focuses attention and is mainly used in conversations. low angle- this angle is positioned with the camera looking up at the character. If a character/object is filmed with the low angle, it will appear that the character/object will be looking down at the audience to create an effect in which the character/object seems tall, scary and powerful. Camera movement Camera movement is when the charcter is moving the camera does the same. This shows a point of view. The purpose of the point of view is for the audience to get the impression that they are seeing exactly what the character can see. Framing Framing is what contains and what excludes certain objects. Unecessary objects in the film may be excluded but important objects may be included so the film can make more sense. Editing Editing is putting all the shots of the film together in chronological order. As well as peicing the shots together, the editor must match the music and sound effects with the correct scenes. Depending on the film’s genre, the editor must edit the scenes so the music, the lighting and sound effects all correspond with each other so the scenes are suited perfectly. Pace Pace is editing the sequence at different speeds. When scenes are being edited they pace cetrain shots, some shots are shorter others are longer. When a scene is shorter it is faster and is suited for an action genre. When a scene is longer it is slower and it creates tension which is iseal for a romance genre. Transitions Transitions are used to take one shot to another. There are three ways in doing so; wipes, dissolves and fades. These are sometimes uesd for a skip in time. All of the transitions are used to either skip time or take one shot to another. Lighting, Music and Sound Effects Lighting creates either a bright scene or a dark scence to create an ambience. Lighting does many things: tells whether if it is day or night, it creates an atmosphere and a mood. It can help focus attention towards a specific part of the scene. Music is very important in a film. Although many viewers do not realsie the music it helps to create a mood and an atmosphere. Sound effects are easy to recognise. They are the simple sounds that can do so much more than the audience thinks. If it is the noise of an animal it can make thescene more realistic. In general lighting, music and sound effects are uesd to create mood and atmosphere. View as multi-pages