The Detrimental Effects of Smoking Essay - 956 Words

One can have the necessary servings of fruit and vegetables, or exercise daily but healthy actions mean little if one continues to smoke. The message, â€Å"don’t smoke, it’s bad† might be a clichà © now, but not everyone has given it the attention it requires. When one puts the killing thing in their mouth, and lights it, they are giving the cigarette the power to do the killing. Smoking is one of the greatest causes of disease and death worldwide due to the infinite amount of harsh, and injurious chemicals inhaled. There are more than 4000 chemicals in tobacco smoke, many of which are poisonous and a minimum of 60 of those chemicals are cancerous. When the tobacco smoke is exhaled, there is some tar that is placed in the lungs and the tiny hair†¦show more content†¦The researchers were also focusing on explaining why secondhand smoking has half the risk of smoking 20 cigarettes per day and it’s correlation with heart disease. The researchers ca rried out five sets of analyses using published data. First, they analyzed 19 acceptable studies on the risk of ischaemic heart disease in lifelong non-smokers who live with a smoker and those who don’t live with a smoker. They saw that non-smokers who live with smokers increased their exposure both inside and outside the home. The researchers divided statistics on the never smokers according to whether their spouses currently smoked or had never smoked, disregarding ex-smoker spouses. They calculated the average risk according to age and sex. Furthermore, to determine the risk associated with low dosage of smoking, the researchers analyzed the dose response relation between smoking and ischaemic heart disease from studies of men who were selected due to their large size. In each study, the smoker had been divided into three or four categories according to the number of cigarettes smoked. In the third analysis, the researchers determined how much of the excess risk of ischae mic heart disease is reversible many years after stopping smoking. Fourthly, because people exposed to environmental tobacco smoke eat less fruit and vegetables, this is associated with an increased risk of ischaemic heart disease. Finally, platelet aggregation was another actor that could’ve had an impact on theShow MoreRelatedWith The Increase In Access To Scientific Research And1288 Words   |  6 Pagesresearch and media, people today are faced with a dual standard on the issue of smoking tobacco. It is stigmatized to be irresponsible and detrimental to health, yet the â€Å"cool† characters on movies and televisions are shown smoking cigarettes. In some cases, smoking is also seen as a path to adulthood. But due to smoking’s overwhelming detrimental effects on the smoker and the people around him or her, the â€Å"coolness† of smoking should be reconsidered as a moral failing instead. Although the idea of sinsRead MoreShould Smoking Be Public Places ?1055 Words   |  5 Pagesâ€Å"Smoking is hateful to the nose, harmful to the brain, and dangerous to the lungs.† -King James I, royalty. Picking up a cigarette, is equivalent to putting a limitation on life. Sadly, numerous people will perform this activity anywhere they are, even where there are signs that read â€Å"no smoking.† Prohibit smoking in public places due to the fact that it can affect others health, pregnancy, and even harm their own body. People should be more aware of the effects smoking has on everyone, not justRead MoreSmoking Is Harmful Or Harmful? Essay1721 Words   |  7 PagesAbstract: Smoking is obviously harmful to one’s health. The smoke inhaled never leaves the body as it found it. Nicotine in the smoke is very addictive. Engaging in this dangerous act at an early age is far more dangerous to a teenager’s life and trims out at least ten years of their future lives by causing premature deaths. As we take a few steps back into the origin of smoking, the reasons the ancients held for it and the recent effects disclosed related to smoking, it is expected that the teenagerRead MorePersuasive Essay On Smoking707 Words   |  3 PagesThe sound of a cough rings throughout the park. The foul stench of thousands of chemicals wafts through the air. Peering around, the culprit is spotted; a man smoking on a nearby bench. Smoking has long since been regarded as one of the number one avoidable causes of death (Pietrangelo Cherney, 2017). Tobacco is one of the most widely-used recreational drugs in the world and although most countries put age restrictions on its use, over a billion adults smoke tobacco legally every day. As wellRead More Smoking and The Human Body Essay examples1467 Words   |  6 Pages Smoking is a bad habit which plagues the young, as well as the old. It is the largest source of preventable mortality in North America1. Not only does smoking lead to an early grave, but it can also influence ones daily life. Many studies have revealed links between smoking and reduced endurance capacity2. Nicotine, the addictive agent found in cigarettes, can also be used to control weight gain. Both of these factors can have considerable effect on the sporting world. There have been many studiesRead MorePrevention And Treatment Of Periodontal Disease1607 Words   |  7 Pagesoverhangs and orthodontic appliance. Systemic risk factors include diabetes, genetic and smoking. Smoking is an important risk factor for the initiation and progression of periodontal diseases and a number of researches have demonstrated the detrimental effect of smoking on patient’s periodontal status as well as their response to periodontal treatment. Content of cigarette Smoking has widespread systemic effects as it contains over 4000 toxic chemicals including Benzene, Formaldehyde and Ammonia.Read MoreIt Is Never Too Late To Quit Smoking. Smoking Is A Habit1348 Words   |  6 PagesIt is never too late to quit smoking. Smoking is a habit that many Americans have even into their old age. However, smoking is not a healthy habit it effects your brain, heart, lungs and throat, it can cause cancer, as well as COPD. Not only does smoking lead to chronic diseases, but has many effects on the aging process. In older adults, they see a lower quality of life due to a lifelong of smoking. Although smoking in old age has become less popular, the generation of baby boomers is going to changeRead MoreThe Harmful Effects Of Smoking And Smoking1380 Words   |  6 Pagestime they light a smoke. Some of the harmful effects of smoking include various potentially lethal diseases to the smoker and others exposed to secondhand smoke, the sinful addiction caused by a ke y ingredient in cigarettes, and social issues smoking causes for smokers and their loved ones. Smoking should be prohibited completely because of the harmful physical and social effects it has on smokers and the non-smokers they associate with. First of all, smoking creates a number of health problems for smokersRead MoreThe Unhealthy Lifestyle1214 Words   |  5 Pagescancer each year. It is estimated that cigarette smoking explains almost 90% of lung cancer risk in men and 70 to 80% in women†. (Walser, et al., 2008).An unhealthy lifestyle is one of the major contributors to almost every disease, illness and health issue that we are facing in this country and the whole world today as well. It becomes worse in the Malaysian society. There are several unhealthy lifestyles among Malaysians: bad eating habits, smoking habits and bad social habits. One of the examplesRead MoreTobacco Addiction : The Strong Craving For The Addictive Substance Nicotine1356 Words   |  6 Pagesthe country, and its effects are one of the leading causes of death in the United States. I have had many family members develop serious health concerns due to their tobacco addiction and know personally what a horrible thing it is. All of my grandparents have smoked in the past and two of them have serious problems that came from the effects of their tobacco addiction. Tobacco addiction is a serious problem, so in this essay I will be expanding on it, and its many causes, effects and treatments.

Analysis Of Alfred Hitchcock s I Confess - 1542 Words

I believe that in I Confess, the first four minutes is not only the most important, but it also relates back to the rest of the film perfectly. In the beginning of I Confess the audience is shown several shots of the beautiful povince of Quebec to emphasize the location and then we see a murder and a confession occur in the same night. In this essay, I m going to be analyzing the mise-en-scene, cinematography, and sound of the cinematic masterpiece I Confess by Alfred Hitchcock. Father Michael Logan is an extremely holy character in I Confess as he discovers one night during an out of the ordinary confession that one of his parishioners (Otto Keller) has murdered a wealthy member of the community (Vilette). Keller is a desperate German†¦show more content†¦They are greeted with musical stabs each time they appear and add suspense as the audience wonders that the signs are pointing at. The fourth time the direction sign shows up, the camera pans to the right and looks into a window. The open window reveals Vilette s dead body and the music escalates very quickly. The suspense in the first 45 seconds of this film is expertly crafted and although the murderer is revealed directly after, it leaves the audience curious. Beside the corpse is the murder weapon (a blunt instrument) and you can clearly see Vilette s head bleeding at the top, revealing how he was murdered. From the image of Vilette s body, the camera pans to the doorway where the beaded curtain is left swinging showing the audience that someone has just left the crime scene. Next, the audience sees a man in a priest s clothes hurrying down the sidewalk late at night. The lighting is very important in this shot as it sets a very serious, ominous tone. The character also looks over his shoulder hastily as if he s worried someone might see him. The camera goes to a wide shot to show that two young girls are right behind Keller as he briskly walks away from his crime. Then the shot fades into Kelle r walking towards the camera down an alleyway. The lighting is still extremely gloomy and shadowy as he takes off into a dark corner. The next shot has a revealing as Keller takes off his priest clothing and he looks around suspiciously.

Socialism and Capitalism Free Essays

Difference Between Socialism and Liberalism †¢ Categorized under Ideology,Politics | Difference Between Socialism and Liberalism Socialism vs Liberalism The terms ‘socialism’ and liberalism’ are used a lot nowadays, and many people often mistake one for the other. In order to differentiate between these two terms, one must keep in mind the clear-cut differences by defining the prevailing ideology of each term. The tenets of socialism assert that the state should wield total economic power by manipulating prices of goods and wages of workers. We will write a custom essay sample on Socialism and Capitalism or any similar topic only for you Order Now Furthermore, socialism requires people to submit to the rule of law. In return for their compliance, citizens are provided with resources rationed by the government. On the other hand, liberalism is more challenging to define since it is further divided into classical and modern liberalism. Classical liberalism states that the government should take control of an institution in order to ensure that it continues to be of service to the people, free of charge. Classical liberalism does not see any need for the government to enforce law and order and subjugate its citizens under the iron rule of law and order. However, modern liberalism veers away from this ideology by adding a new twist. Modern liberalism asserts that aside from ensuring economic and political security, it is also the government’s job to interfere with people’s day-to-day affairs in order to maintain social security. Modern liberalism, in effect, can be compared to socialism, because both of them assert that the government can effectively uplift its citizens not only by seizing control of the economy or private institutions, but also by keeping a close watch on citizens to ensure that none of them become subversive. Many modern-day politicians have been supporting modern liberalism because they believe that the government can solve all problems once it is granted total power. These politicians point out the inequality of different classes in society, and propose reforms that at first seem to favor the poor and marginalized, but in the end just grants the government reason to extend its powers to curtail private interests. And even though liberals seem to advocate reforms to improve government policy, they are still embracing the same old political structure to further their own ambitions. The late U. S. President Franklin Roosevelt himself defined liberalism as the ‘saving grace for the far-sighted conservative,’ and also ‘reform what you want to preserve. ’ Capitalists and supporters of democracy believe that socialism and modern liberalism are detrimental to economic progress. Because prices of goods and wage of workers is controlled directly by the government, privately-owned companies and institutions cannot flourish under a socialist or modern liberalist government. People who value freedom of speech and human rights likewise oppose socialism and modern liberalism, because they believe that such ideologies limit a citizen’s right to choose which products to buy, what job to take, what religious belief to espouse. Even though modern liberalism is more subtle and suave than socialism, it still ends up giving too much power to the government in the guise of economic, political, and social security. Summary 1. Socialism says that only by granting the state total economic and political power can economic progress and equality among citizens be attained. . Classical liberalism says that the state should only take over an institution to ensure that citizens can freely benefit from that particular institution’s services. Classical liberalism does not require the thorough enforcing of law and order to reach economic progress and equality. 3. Modern liberalism says that the state should interfere not only in economic or political affairs, bu t also in social affairs, such as day-to-day activities of its citizens. In effect, modern liberalism ceases to be associated with classical liberalism, and instead becomes similar to socialism. How to cite Socialism and Capitalism, Papers

Phonemic Awareness free essay sample

Phonemic awareness is not phonics. Phonemic awareness is an understanding about spoken language. Children who are phonemically aware can tell the teacher that bat is the word the teacher is representing by saying the three separate sounds in the word. They can tell you all the sounds in the spoken word dog. They can tell you that, if you take the last sound off cart you would have car. Phonics on the other hand, is knowing the relation between specific, printed letters (including combinations of letters) and specific, spoken sounds. You are asking children to show their phonics knowledge when you ask them which letter make the first sound in bat or dog or the last sound in car or cart. The phonemic awareness tasks that have predicted successful reading are tasks that demand that children attend to spoken language, not tasks that simply ask students to name letters or tell which letters make which sounds. We will write a custom essay sample on Phonemic Awareness or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Recent longitudinal studies of reading acquisition have demonstrated that the acquisition of phonemic awareness is highly predictive of success in learning to read in particular of successful reading acquisition. Programs for teaching phonics often emphasize rules rather than patterns and focus on separate sounds, called phonemes. In contrast, the most effective and efficient phonics instruction focuses childrens attention on noticing letter/sound patterns in the major components of syllables: that is, on noticing the letter/sound patterns in initial consonants and consonant clusters and in the rime, which consists of the vowel of a syllable plus any following consonants, such as -ake, -ent, -ish, -ook (Moustafa, 1996). Conventional blending and segmentation instruction improves the ability to manipulate phonemes. When instruction emphasizes phoneme manipulations, children learned what they were taught. In contrast, teaching beginners about phoneme identities does not seem to enhance phoneme manipulation skill. Kindergarten children with explicit instruction in phonemic awareness did better than a group of first graders who had no instruction, indicating that this crucial pre-skill for reading can be taught at least by five and is not developmental (Cunningham). Precursory phonological awareness skills such as rhyming and alliteration can emerge in informal contexts before school and are seen in young children who can neither read nor spell (Snow, 1991; van Kleeck, 1990). A general order for the emergence of phonological awareness abilities begins with rhyming and alliteration; segmenting sentences into words; followed by segmenting words into syllables; followed by segmenting words into phonemes. Fox Routh; Ehri, Holden MacGinities; Huttenlocher; Liberman; Liberman, Shankweiler, Fisher Carter) Phonemic awareness alone is not sufficient. Explicit, systematic instruction in common sound-spelling correspondences is also necessary for many children (Adams, 1988; Ball Blackman, 1991; Byrne Fielding-Barnsley, 1990; Foorman et al, in press; Mann, 1993; Rack, Snowling Olson, 1992; Snowling, 1991; Spector, 1995; Stanovich, 1986; Torgeson et al. in press; Vellutino, 1991; Vellutino Scanlon, 1987a; Foorman, Francis, Novy Liberman, 1991. ) Expl icit, systematic instruction in sound-spelling relationships in the classroom was more effective in reducing reading difficulties than a print-rich environment characterized by interesting stories, even with children who had benefited from phonemic awareness instruction in kindergarten. Foorman, Francis, Beerly, Winikates, and Fletcher, in press) Research has established a correlational, if not causal relation between phonological awareness and reading (Eric Sweet, 1991; Mason Allen, 1986; Sulzby Teal, 1991; van Kleeck, 1990) Young childrens awareness of onsets (the initial consonant of a word or syllable) and rimes (everything after the initial consonant in a one-syllable word or in syllables, traditionally referred to as phonograms or word families) is related to success in beginning reading. (Goswami, 1988, 1990; Goswami Bryant, 1994). Effective phonics instruction focuses childrens attention on noticing the letter/sound patterns in initial consonants and consonant clusters and in rimes (the vowel of a syllable, plus any consonants that might follow). Focusing on rimes rather than on vowels alone is particularly important in helping children learn to decode words. (Adams, 1990) Research shows that all proficient readers rely on deep and ready knowledge of spelling-sound correspondence while reading, whether this knowledge was specifically taught or simply inferred by students. Conversely, failure to learn to use spelling/sound correspondences to read and spell words is shown to be the most frequent and debilitating cause of reading difficulty. Many children learn to read without any direct classroom instruction in phonics. But many children, especially children from homes that are not language rich, do need more systematic instruction in word-attack strategies. Well-sequenced phonics instruction early in the first grade has been shown o reduce the incidence of reading difficulty even as it accelerates the growth of the class as a whole. Given this, it is probably better to start all children, most especially in high-poverty areas, with explicit phonics instruction. Such an approach does require continually monitoring childrens progress both to allow those who are progressing quickly to move ahead before they become bored and to ensure that those who are having difficulties get the assistance they need. Sulzby and Teale (1991) noted that while phonological awareness has long been tied to research and practice in the teaching of phonics and other decoding skills, it has been neglected in emergent literacy due to the tendency to view phonological awareness research as traditional and bottom-up theory. The dimensions of phonological awareness are represented by a range of difficulty. From easiest to hardest the range of difficulty is as follows: rhyme, auditory discrimination, phoneme blending, word-to-word matching, sound isolation, phoneme counting, phoneme segmentation, and phoneme deletion. Yopp, 1988) Young children are competent at analyzing spoken words into onsets and rimes but not into phonemes when onsets or rimes consist of more than one phoneme. (Calfee, 1977; Goswami Bryant, 1990; Liberman, et al. , 1974; Treiman, 1983, 1985) Young children who are beginning to read make analogies between familiar and unfamiliar print words to pronounce unfamiliar print words and that the y make these analogies at the onset-rime level rather than at the phonemic level. (Goswami, 1986, 1988) Classroom Implications One of the most important foundations of reading success is phonemic awareness. Phonemes are the basic speech sounds that are represented by the letters of the alphabet, and phonemic awareness is the understanding that words are sequences of phonemes. Phonemic awareness is demonstrated by the ability to identify and manipulate sounds within spoken words. Children can learn to assemble phonemes into words as well as break words into their phonemes even before they are writing letters or words. Giving children experience with rhyming words in the preschool years is an effective first step toward building phonemic awareness. Hearing rhymes, and then producing rhymes for given words, requires children to focus on the sounds inside words. Rhyming activities initiate phonemic awareness. The reading and rereading of books with clear, simple rhymes offer abundant and fun opportunities for direct instruction in rhyming and the beginnings of phonemic awareness. Phonemic awareness is an insight about oral language. There is evidence to suggest that the relation between phonemic awareness and learning to read is reciprocal: phonemic awareness supports reading acquisition, and reading instruction and experiences with print facilitate phonemic awareness development. Young childrens awareness of onsets (the initial consonant of a word or syllable) and rimes (everything after the initial consonant in a one-syllable word or in syllables, traditionally referred to as phonograms or word families) is related to success in beginning reading. Therefore children should be taught to identify and manipulate these sound units. Children in kindergarten should be introduced to common phonograms. In addition to building phonemic awareness, providing instruction with phonograms also prepares children for reading words by analogy. Instruction in both phoneme identity and phoneme manipulation are valuable. After the children have caught onto how letters cue the phonemes of spoken words, learning to manipulate phonemes by blending and segmentation manipulations will likely help beginners progress into sequential decoding. Instruction in phoneme identities is likely of greater value than manipulation instruction for children who have not yet demonstrated alphabetic insight. Activities focused on the identities of individual phonemes, which make these phonemes familiar and memorable, and which help children recognize their identities in words could well be incorporated into early literacy programs that contain other activities we know to be helpful in preparing children to read. Phonological awareness and letter recognition contribute to initial reading acquisition by helping children develop efficient word recognition strategies (e. g. , detecting pronunciations and storing associations in memory. ) Children need opportunities to understand and manipulate the building blocks of spoken language.

How Great Writers Develop the Theme of a Story - Freewrite Store

How Great Writers Develop the Theme of a Story - Freewrite Store What is the theme of a story? Today’s guest post is by  Matt Grant.  Matt is a Brooklyn-based writer and editor.  His  work has appeared in  Literary Hub,  Book Riot,  HuffPost, and  BookBrowse.  Find Matt  online, or follow him on  Twitter  and  Facebook.       For many writers, upon hearing the word â€Å"theme,† our eyes tend to glaze over and our mouths grow slack-jawed. The word may set off flashbacks to high school English, in which teachers forced us endlessly analyze a story’s theme, images, and motifs when all we wanted to do was enjoy the writing and the characters. â€Å"Can’t a story just be a story?† we might have cried out as we did our homework, shaking our fists at the heavens. Whether we like it or not, the idea of themes in literary compositions is ubiquitous and is certainly not going anywhere. But rather than something to be wary of, developing a strong theme in your work can actually set it above the rest. In her 2000 â€Å"Writers on Writing† article in the New York Times, Pulitzer-Prize nominated novelist Diane Johnson says the term â€Å"theme† â€Å"Seems like a holdover term from high school English class, useful for discussing novels, but not very relevant to the process of writing them. There's something too close to ‘thesis’ about it; the idea of imposing a preconception is anathema to a novelist who likes to imagine she is observing life and manners without any didactic intention and without forcing her characters to follow a plan.† And yet the best writers embrace themes in their work and throw themselves headlong into crafting one. This is because every writer makes his or her writing about something, intentional or not. That something, the essence of the story, is its theme. What is the theme of a story? Don’t let the academic-sounding term throw you off. The â€Å"theme† of a story simply refers to its main topic or central idea. This can be as simple as monosyllabic words like â€Å"love,† â€Å"friendship,† â€Å"family,† â€Å"revenge,† or â€Å"loneliness,† or as complex as â€Å"man versus machine,† â€Å"coming of age,† â€Å"the toxicity of nostalgia,† or â€Å"the danger of unchecked ambition.† â€Å"I suppose the major theme of a given work is the sum of all its ideas,† Johnson writes. â€Å"That's implicit in those joke contests on the Internet about Merged Novels, in which people compress the essence of two books into one, like ‘The Maltese Faulkner.’ (‘Is the black bird a tortured symbol of Sam's struggles with race and family? Or is it merely a crow, mocking his attempts to understand? Or is it worth a cool mil?’) Or ‘Catch-22 in the Rye.’ (‘Holden learns that if you're insane, you'll probably flunk out of prep school, but if you're flunking out of prep school, you're probably not insane.' But every novel is a ‘spongy tract,’ as E. M. Forster put it, a tissue of ideas so dense and various it would be impossible to tease them all out.† Luckily, you don’t need to tease all of your ideas out, just the major ones. Whether you like it or not, your story has a theme, because all stories ultimately have one major idea. This is because we as writers are fueled by ideas. â€Å"Of course a writer, like anybody, has a set of general ideas: the inhumanity of man to man or that life is a struggle, or that nature is beautiful,† Johnson writes. â€Å"Some of the ideas will be received ideas; some may be original or idiosyncratic or even suspect, as was said of Ayn Rand's, for instance, or some of T. S. Eliot's, or Pound's. Taken together, a writer's themes are thought to typify the writer despite him- or herself, except for protean geniuses like Shakespeare, invisible in the dense thicket of their contradictions.† Whether or not you invest time and energy in developing and thinking about your theme is up to you, but your story will only be improved if you do. The stronger a story’s theme, and the more attune with that theme the writer is, the better the story. Identifying the theme Before you even begin work on your novel, you should identify what your story’s theme is. Ask yourself what, underneath all of your plots and subplots, your characters and your descriptions, your story is really about. Is it a story about how love conquers all? Is it about the complicated relationship between mothers and daughters? Good versus evil is a common theme. Is your story about how evil never triumphs and good always wins? Is it about how evil triumphs despite good? Any of these make excellent examples of themes. Of course, your story may have more than one theme. But you should at least identify one â€Å"main theme,† or major idea, that your story will focus on. It may also help to identify the â€Å"spine† of the story, or the main narrative thread. The spine is usually just one sentence that summarizes what the story is mostly about. This will help you retain your central idea throughout the work and prevent you from getting sidetracked by subplots, secondary characters, and long passages that don’t relate. For instance, for a book like The Great Gatsby,the spine might be â€Å"a wealthy American tycoon in the Jazz Age discovers that money can’t buy happiness,† and the theme might be â€Å"The decline of the American dream.† These might sound like oversimplifications. That’s okay. The theme is supposed to be a simple summary of your story’s main point. Once you have your theme and spine identified, try to find all of the ways your characters and your plot connect to that theme, both implicitly and explicitly. Which scenes relate your theme through your main  character’s interactions? How do your description and your settings bolster the theme? Everything that doesn’t, in some way, connect to your theme is worth considering whether it should be included at all. How to build a theme The question then becomes how, exactly, do you build a theme into your work? Other than your characterization, the main way is through motifsand symbols. Taken together, these three things are powerful tools when it comes to making sure your theme is easily understood and constantly present in your story. Let’s look at each one in turn. A motif is a recurring structure, symbol, or literary device that helps develop and inform your theme. The more a motif turns up in a story, the more prominently it will factor into your theme. For instance, taking The Great Gatsbyas an example once again, some of its motifs include geography (the East Coast represents decadence and cynicism, while the West represents more traditional, straightforward â€Å"American† values) and the weather (the changing weather patterns reflect the shifting tone and mood of the characters and the story).   A symbol, on the other hand, is an image, a character, an object, or figure that represents something beyond whatever is just on the surface. At the end of the first chapter of Gatsby,the narrator, Nick Carraway, observes Jay Gatsby emerging from his mansion at night. Carraway considers calling out and introducing himself, but thinks better of it: â€Å"I didn't call to him, for he gave a sudden intimation that he was content to be alone- he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward- and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness.† This green light makes several appearances during the novel, most notably again at the very end: â€Å"Gatsby believed in the green light, the orgastic future that year by year recedes before us.† Clearly, the light resembles something more than just a green light. It represents Daisy, who in turn represents Gatsby’s unattainable American dream. Further, green is the color of money and envy, two things that Gatsby struggles with throughout the novel. The light is a symbol, deepening the story’s themes. So, a series of recurring symbols (rain, light, color, etc.) build into a motif(the weather, geography), and a series of motifs build into a theme (the decline of the American dream). How themes relate to character In addition to symbols and motifs, your characters are your biggest avenues for relaying your theme to your readers. Characters can represent different aspects of a theme, or in some cases, represent the theme altogether. We’ve already shown how Daisy represents the American dream to Jay Gatsby. She is a full character herself, the target of his romantic ambitions. But just as their relationship is doomed from the start, Daisy also represents an aspect of American life that will forever remain unattainable to Gatsby. Characters can also have discussions, thoughts, and behaviors that relate to the theme without expressly representing the theme themselves. Nick Carraway is a narrator, and yet it’s through his eyes that we see Gatsby’s symbolic green light analyzed. But Nick himself also wrestles with being drawn into the glamorous life of the West Egg nouveau riche. The attractive and â€Å"incurably dishonest† Jordan Baker tantalizes him. So even as a seemingly â€Å"secondary† character, Nick Carraway mirrors Gatsby’s theme of the lure of the American Dream. In addition, Johnson insists that the writer herself will influence her characters. Your themes will always reflect a part of who you as a writer are. â€Å"Can the novelist entirely control the ideas in her text, or conceal herself among them?† she asks. â€Å"There's the phenomenon well known to writers whose characters, given their head, take off and do or say things the writer did not foresee. The writing has a Ouija board will of its own. On the other hand, there are the covert operations of your own character your personal obsessions, perhaps that ordain that, however you start out, you end up with the sort of novel only you would write. (Obviously, these two are functions of each other: the unexpected crops up out of some less conscious realm of your self.) There's age, birth order, geography. Nationality is certainly part of the imperatives of our natures, something that we can't help and that has programmed us.† Working with multiple themes A story will often have more than one theme, especially if it’s a novel as opposed to a short story. Short stories, due to their length, tend to only have one major theme, while a longer novel has time to elaborate on several themes at once. To return to our example, The Great Gatsbyhas several themes. In addition to the decline of the American Dream, there are also the themes of â€Å"money doesn’t buy happiness,† and â€Å"the allure of forbidden love.† It’s fine for your story to have multiple themes, just be careful of giving it too many. â€Å"Too many themes and the novelist risks committing a ‘novel of ideas,’ a term that can conceal a note of reservation,† Johnson writes. â€Å"As a phrase, ‘novel of ideas’ is gathered from what seems now a somewhat dated typology used to categorize all novels as ‘of ideas,’ or as comedy of manners, or action, romance and so on, depending on the general effect. These were also shorthand ways of saying serious, boring, comic, moving account of personal anguish, love story, etc.† What the author wants to avoid is the appearance of â€Å"moralizing† or proselytizing in a story. Your theme will relate your own beliefs and worldview, but it’s not a moral. If the reader thinks that all you’re trying to do is convince them of your way of thinking rather than just telling a good story, they’ll run for the hills. Themes must be intentional Building a theme doesn’t happen by accident. F. Scott Fitzgerald clearly thought long and hard about the themes and symbols he wished to infuse into The Great Gatsby,and the result is one of the best examples of modern American literature. Finding your theme will take time and effort, but it will be worth it in the end. If you try to think of your theme before you start writing and you can’t, that’s okay. Don’t get so caught up in theme that you neglect good storytelling. Sometimes, your story’s theme won’t be apparent until you’re several drafts in. That’s okay, too. As a general rule, you should focus on the story first and then worry about the theme. â€Å"Novels are never about what they are about; that is, there is always deeper, or more general, significance,† Johnson writes. â€Å"The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.†       Which themes do you find most compelling? How have you worked themes into your novels? Let us know in the comments!    Matt Grant  loves to write about writing, business, and all forms of popular  culture – books, film, and television. Matt started writing DVD reviews for  Pop Matters  in 2012, and in 2016, he followed through on a life-long dream by launching a part-time writing business at  www.mattgrantwriter.com. Since then, Matt’s work has appeared in  Literary Hub,  Book Riot,  HuffPost, and  BookBrowse,  and he has several ongoing clients.  His first personal essay,  Swimming Lessons,  is being published in LongReads at the end of August. Matt is also currently hard at work on his first novel, a comedic take on fantasy tropes for young adults. When not writing or reading, Matt works in youth development as an after-school program director  for one of the largest middle schools in Manhattan. Matt lives in Brooklyn with his wife, Katelyn. You can find him online at  www.mattgrantwriter.com, on  Twitter  @mattgrantwriter, and on Facebook  @mattgra ntwriter.

Can We Actually Rewrite a Film

Can We Actually Rewrite a Film The term â€Å"rewrite† by definition is to write something again. Its purpose is to correct or improve a piece of writing or a written document. In the academic world, rewriting a piece of document is to write it in a different manner, alter its form and make it concise, amend or carry out necessary improvements. Hashtag: #RewriteAFilmIn5Words Rewrite Is Not Limited to Piece of Writing The term â€Å"rewrite† by definition is to write something again. Its purpose is to correct or improve a piece of writing or a written document. In the academic world, rewriting a piece of document is to write it in a different manner, alter its form and make it concise, amend or carry out necessary improvements. However, is this definition and academic form of â€Å"rewrite† applicable to film? LEARNING MORAL VALUES IN COLLEGE MOVIES In reality, the difference between a film and piece of writing such as books, articles, essays, and other written documents is their form. Films and written documents are actually mediums of communication where authors can transmit ideas to the audience. Moreover, if one would look closely, a film (except actual footage of real-life events of course) is nothing but a visual representation of a written story, images of scripted events, and ideas delivered in an explicit and more understandable form. The advantage, however, is that unlike paperbacks, films leaves nothing to the imagination and therefore complete and more accurate in terms audience comprehension. Therefore, when someone says #RewriteAFilmIn5Words, the person is actually asking you to write a concise five words description of the written ideas successfully transmitted by the film you saw. Now, how would you do that? Since the understanding of ideas transmitted through a film is highly dependent on viewer’s (reader’s for paperbacks) recall and interpretation, slight variation in the rewritten text is expected. However, the rewritten text must reflect the main ideas and objectives of the film otherwise; it is nothing but a deceptive piece of writing. Rewriting Is an Exact Science Rewriting a film is no different from rewriting an article, essay, and other written documents you read and understood. However, rewriting a concise version of an original document or film requires skills or the ability to restructure and write it in your own words without spoiling its main ideas and  objectives. If one would rewrite this article in 10 words, for example, the rewritten text will be something like â€Å"rewriting a film is possible but it must be exact†. Similarly, five words rewrite of the 1994 film â€Å"Shawshank Redemption† should be something like â€Å"Inmates redeemed through mutual respect† rather than simply â€Å"I have a black friend†. The reason is that although the film is undeniably about true friendship, the film’s main idea, and the objective is much more than having a black friend. In fact, the film is sharing some ideas regarding the possibility of imprisonment regardless of innocence, education, and color, friendship between men can flourish through mutual respect, the power of education and knowledge in reducing difficulties in life, the effect of long incarceration on the ability of ex-convicts to start a new life, and others. If there is no word limit, then the rewritten text for this film will be longer, detailed, and precise. WHAT IS THE WORST SONG IN THE WORLD? A film rewrite should be accurate and like a piece of writing, the rewritten text should be different in form, improved, concise but communicating similar ideas and achieving the same objectives as the original work. In practice, rewriting academic text requires a thorough knowledge of the original work, paper formatting, and content restructuring, paraphrasing technique, different writing styles, consistency, and precision. Now, can we actually rewrite a film? Yes! Just apply these skills and you can rewrite a film in any number of words.

Speech Made in the Conference, Concerning Japan's Aggression Essay

Speech Made in the Conference, Concerning Japan's Aggression - Essay Example Japan is such a country that can best be described as aggressive, with its acts being tantamount to belligerence, especially towards China. Some of the acts of aggression that Japan has carried out may be illustrated forthwith. It is open knowledge that Japan on September 18th, 1931 sent its army and some of its political leaders to invade Manchuria, which is the eastern seaboard of China. The worst part of this problem is not merely personified in Japan’s acts of aggression, but on Japan’s lack of goodwill to being accountable for its actions. For instance, in 1933, after the Manchuria crises ended, Japan’s delegate walked out of the League of Nations when the findings by the Lytton Commission were being read out and mooted. In so doing, Japan was not only excising itself from the rest of the international community, but also parading unwillingness to take responsibility. Arrogance was also the driving force behind Japan’s walk out since Japan had already pacified Manchuria from China and singlehandedly made Manchuria a puppet state, Manchukuo. Japan even had the audacity to make Emperor Pu Yi as the head of Manchukuo who was a stooge in every respect. Similarly, Japan’s aforementioned willingness to take responsibility is underscored by the fact that the tabling of the Lytton Commission’s findings was supposed to be accompanied with discussions on China’s appeal for an interstate approach towards Japan’s aggression (Christensen, 75). Japan’s bellicose stance was further shown in it engaging the Chinese army near Peking, at the Marco Polo Bridge in 1938, following the ‘China Accident.’ It is important to note that Japan’s problem is one which is heavily embedded in wrongful thinking and attitude. For a fact, ever since Japan won the Sino-Japanese War which took place between 1894 and 1895, Japan has become increasingly stubborn throughout the orient, after it knew that it had a stranglehold in the Asian continent. China’s compelled recognition of the Korean independence and its forced concessions on Liaotung Peninsula and Taiwan were to serve as Japan’s reassurance and propitiation. Unfortunately, Japan grew into a bully. It is important to note that with much power comes, responsibility in lieu of belligerence. Japan, other developed and developing countries ought to realize this. It is important that Japan appreciates the fact that when it joined the Allies in World War I, it gained a lot when the League of Nations granted it, the Asian colonial territories that had been being controlled by Germany in the 1919 Treaty of Versailles. That these territories were rich, is a matter that is underscored by the inclusion of the Shantung Peninsula and Micronesian islands which had been under the tutelage and ownership of China and Germany, respectively. Thus, the citing of Japan’s landlocked status as a reason behind its unbridled antagonism cannot wash. How the U.S. Plans To Handle the Situation There are several measures that America has considered as tenable solution to the problem of Japan’s aggression. The measures are both short and long term. One of the long term approaches to the problem is the reevaluation of economic policies with Japan. It is well known that since 1920s, Japan got less interested in western model of economic liberalism. This is because, while reeling from the