Japanese Propaganda

Yes, I agree that the worst problem Singaporeans confront during the Nipponese occupation was living in constant fear of the Nipponese alternatively than Nipponese propaganda. The Japanese had claimed that they were liberating Southeast Asia from colonialism, but in humankind they were far harsher rulers than the British ever were. In addition to civilian casualties, some cruel acts were committed by Japanese troops, particularly by the Kempeitai. The Kempetai were the Japanese police. Commoners were made to bow to them as they passes, if not, they would be punished by kicking, hitting, and some(prenominal) more.The Japanese, to purify the commoners and not look at unloyals going against them, introduced a system called Sook Ching. There were private informers all over the island. When asked by the Japanese to select and accused, they would simply spot to anyone. These people were rounded up and taken to a deserted rove to be shot and killed. The local people lived in fear at that time because they did not know who worked for the Japanese and who did not. This caused distrust of the people. People no longer knew who to trust, as the secret informers were well paid and they had a senior high cultivate chance of not being rounded up for shooting.This was unfair to Singaporeans as people were being killed for small matters like not bowing garbage grim to the Japanese when they pass. This then caused many people to lose their closed ones. Japanese propaganda during World War 2 was designed to assist the ruling government activity of Japan. Singapore was then renamed to Syonan-to. Propaganda Campaigns were carried out to influence people to pledge their loyalty to Japan. Students in Singapore also had to learn Japanese in school. Children were marched to school where half their time was spent on indoctrination on loyalty to the emperor, and frugality, obedience, honesty, and diligence.Teachers were instructed to ascertain Japanese science based on t he Imperial Way. Students were condition more physical education and required to perform community service. Those who left school after completing six years were required to see to it night school for Japanese history and ethics, military training for boys, and kin economics for girls. Radio stations were controlled by the Japanese so that wholly local broadcasts were allowed. Singaporeans did not have any freedom and everything had to be through with(p) according to the Japaneses ways.I feel that the worst problem Singaporeans faced during the Japanese occupation was living in constant fear of the Japanese rather than Japanese propaganda. People were killed for small reasons, like not bowing down to the Japanese. They did not dare to go out, and didnt know who to trust, fearing that they would get killed. But Singaporeans didnt have to die during the propaganda, even though they had to follow the Japaneses ways and suffer. Therefore, I think back that the worst problem that t he Singaporeans faced during the Japanese occupation was living in the fear of the Japanese.

Charles Booth Essay

The social history of 19th century London seat only be deduced through the remaining surveys and various documents left from that time period. Charles sales booth was an innovative surveyor and social investigator in the late 1800s and create surveys of the life and labor of the 19th century London population. Charles Booth took initiatory to look into the various aras of pauperisation, but in like manner examined the possible reasons for scantness. Past surveyors did non use accurate methods to create statistics or charts.Most social investigators apply observation for their respective purpose. Booth used scientific methods and created better lucubrate censuses and surveys of London. Booth was the first to make connections and implications of poverty from the beas in which the people lived, living(a) conditions, religious life, and occupation. His methodologies were complex and his conclusions were based upon empirical data. Charles Booth used innovated investigate me thods such as detailed questionnaires, personal interviews, and visual observations to investigate the curtilage of poverty.Certain areas in London, for example the due east End, were infamously known for its poverty and unfortunate person crimes. Many knew only of the conditions in the East End because of authors such as Charles Dickens and George Moore that often set their works in poorer parts of town. The conditions were overly exaggerated and were only representative of a gloomy section of the East End. Inwood describes the situation accurately with his statement, how many people lived in squalor and malnutrition was not known, although some writers tried to quantify London poverty, on the basis of short(p) evidence.Mayhew produced many pages of statistics, but most of them referred to the lane folk, beggars, hawkers, scavengers, and entertainers, a flyspeck proportion of the London poor. There were other social surveys conducted before Charles Booth started his social investigation, however none were as detailed and representative of the blameless London population as Booth. Investigative journalist, Henry Mayhew, reported on their interviews with the poor, while a few intrepid social explorers dressed as tramps and experienced at first-hand a night in the episodic cellblock of a workhouse. Nonetheless, there were still no in-depth and comprehensive surveys conducted until Charles Booth. Charles Booth was commission by the Lord Mayor of Londons Relief storehouse in 1885 to analyze the census responses. Booth felt that the census was disorganized and not an adequate indication of the social problems in London. Therefore, he took it upon himself to work and reorganize the census. The first meeting was held on April 17, 1886 for the reconstruction of the census.From 1886-1903, Booth continue to use his methodologies to gather data and research the cause of the social problems in London, specifically poverty. Charles Booth studied the integral parts of the city by examining the background information of the citizens of every highroad in London. He cogitate his efforts into three main areas the exploration of poverty, the occupations of Londoners, and the religious influence. Poverty was a major(ip) social concern during the Victorian era, as well as a continual struggle with even the most sophisticated societies in the twenty-first century.Booth found the social problem of poverty an important give away to explore. Poverty maps of Charles Booth were the first assumption-coded maps during the late 19th century. Booth created a map that encompassed the levels of poverty and riches with different colors ranging from black to discolour to indicate a specific level of poverty that was placed at one time to the London address of the planetary house. There were eightsome poverty levels labeled A-H with the last-place grad labeled with the letter A and increasing in wealth with the wealthiest class labeled with the lett er H.The hierarchal poverty classification ashes starts at the bottom with letter A and color black, which includes the criminals, street sellers, effortless laborers, and loafers. letter B is the color dark sullen and includes the very poor, casual earners that work no more than 3 days a week, and the persons that are mentally, morally, or physically incapable of work. letter C includes the persons of intermittent crystallize and an income of 18-21s for a moderate household, laborers with irregular work, and the poor artisans. Letter D includes the small regular earners, poor, and struggle to make turn backs meet but are decent steady men, paying their way and bringing up their children respectably. Letter C and D are represented by a light blue color and sometimes as purple if grouped with Letter E. Letter E includes the regular earners earning 22-30s a week, wives normally do not carry off trade, and boys and girls who normally do work. Letter F includes the highest paid artisans, high class labor that makes more than 30s a week.Letter E and F are represented by the color pink. Letter G includes the lower shopping centre class described as hardworking sober energetic men. Letter G is signified by the color red. The wealthiest class, Letter H includes the hurrying middle class that keep servants. Letter H is represented by the color yellow. All of these poverty levels are placed onto the corresponding street on the map of the household described. In order to make the poverty map, Booth enlists others to help him gather his research.Booth instructed the inform Board meetors to visit each individual home with children that were registered with the school district and collect information. The inculcate Board visitors were to collect detailed information on the house address, act of rooms that the family inhabited, rent, occupations of the head of the household and the wife, and piece of children in the household. Then the School Board visitors were to categorize the household into the poverty level according to the eight levels and then to assign the household to the corresponding color for the map.Due to the number of households in London, it became evident that taking a survey of every household would be too time-consuming. Therefore, a general survey of the street was also taken in addition to a small number of households on the street. The School Board visitors were instructed to write down notes on the street name, surveyed houses and the color associated, street condition, number of children between the ages of 3-13, and the color the street is associated with the poverty map. The end result is a color coded map of the levels of poverty specific from street to street.To inspect the social reasons for poverty, Charles Booth looked into the occupations that various household members held. Charles Booth apothegm industry as a major contributor to the level of poverty associated with a household. For that reason, he re quested surveys and interviewed persons with particular occupations about their personal experiences to gain insight into the possible associations with poverty. Booth broke down the occupations into 18 categories and 89 subcategories with each industry given an occupation survey.

Dont Text and Drive Essay

Five seconds is the average time your eyes are off the passageway term texting. When traveling at 55mph, thats enough time to silver screen the length of a football field. (2009, VTTI). While texting and driving has always been an burn since people were able to text on phones, it has non gained much media vigilance until recently. People may throw sent an occasional text while driving ten years ago, but because the keyboard was harder to use, people were not doing it as often. Todays phones allow you to text with one hand, making it easier to text while driving. With that being said at that place ask been more accidents link up to texting and driving. Those that cast off been injured or almost injured in an accident may no longer text and sire, but the vast absolute majority of people that have yet to injure themselves or others while doing this bequeath continue to text and mount because they feel safe.There are umteen ads, commercials and even organizations that ar e against texting and driving but the number of people that have actually stopped texting while driving is at a redundant minimum. 60% of drivers use cell phones while driving. (2011, Harris Poll). It seems as if all the advertisements have not paid off like planned. The reason behind so many ads is to cut back on texting and driving and I imagine the media helps get the idea of texting and driving into peoples heads. People go away participate in this riskous action to prove that they will not get hurt. Others will see this and think it is okay for them to text and drive as well. It is like a deadly chain reaction. The ads need to delight the attention of the audience and show how serious texting and driving really is. I believe this ad has a very powerful meaning.Obviously the main message is do not text and drive but it does have a deeper meaning. The car is driving through a neighborhood and a ball is rolling across the street. It is a typical day in just about everyones neighborhood. The phone takes the place of a peasant running to get the ball. I believe the photographer uses a kid rather than an adult because it shows how serious texting and driving is how one message notify take an innocent life. The text under the picture says You cant count on text message to reveal whats misadventure on the road in front of you. I see it as the phone, something so worthless is taking the place of a child, who means the population to someone.This ad is from BMW and the only reason I am pointing this out is because there is a reason BMW is advertising the Dont text and drive slogan. The iDrive system that was in the cars was very intricate and forced drivers to scroll through menus just to do basic tasks. This gave BMW a bad reputation so to make up for the lost cause they made ads against texting and driving and too updated the iDrive system to make it straightforward. Texting and driving is a serious and fatal line of work that many drivers take part in. I think it should be dirty because of how many accidents and deaths are related to texting and driving. Next time you read or reply to a message while driving, think about the danger you put yourself and everyone around you in.Works CitedFacts. Stop the texts. Stop the Wrecks.. NHTSA. Web. 23 Jan 2013.

Comment on how Baz Luhrmann uses video Essay

Romeo and Juliet, is a laugher written by William Shakespeargon in the juvenile sixteenth century in fair Verona. This is an ultimate love tale among the unaccompanied children of cardinal functionful enemies , both alike in gravitas These two households bear an ancient grudge. Within this dislike Romeo and Juliets love chamberpot non survive, and they ar driven by this dislike to ending. From this 1595 classic frolic, Baz Luhrmann got the mull everyplace of wielding it in to a twentieth centaury blockbuster.He did this by using umpteen some other(prenominal) diverse techniques, and even though he keeps the original dialogue, he miscellanys many classic features of the play to give this neo feel to it. Such as horses to cars, S quarrel to gasolines and villages to cities ar several examples. As the film starts, the gap crack is of a modern day television. It is turn upn speaking as a newsreader, speaking as a chorus would on stage, grownup back run agro und knowledge to the hearing watching. This television reflects Luhrmanns modern setting, display how the film will be set, rather than the one in which the written play was set.The TV represents the media, as our main source of information. Just as the chorus would be, stood on stage, addressing the auditory sense, giving them required information. The doubtline upon the TV reads , Star-crossed lovers, and above a picture of a ring split in two, wake both the themes of love and hate. How the duet had love largish to marry, though within their families at that place was hate enough to drive the couple to take their lives. Their love was doomed to die, the ring shows how they could not be to stingher as reflected in one of the chorus lines , death marked love. One extremely shortly though effective photographic camera shot, zooms strike down the middle of a main street, with many high raise twists, until focusing upon a large statue of Christ. demonstrate that religio n will play some part within the play/film. present specious striking practice of medicine kicks in. This euphony tells us that the play is going to be in truth almighty and dramatic. The choruss first line appears white upon swarthy, in fair Verona. White and black atomic number 18 usually associated with just and bad. masking two main features of the film. Again the image of Christs type appears, a penny-pinching up camera shot, recoiling to show two large skyscrapers dominating the skyline.Each bearing separate names, Montague and Capulet, showing the large curtain raising between them, they argon unlike. The sheer size of the buildings tells us they are crocked families, further separate. The statue of Christ is stood in the middle, showing again the religious hunting lodge in which the film is set. Still with the dramatic medication playing building up aura, images of law vehicles- cars and helicopters burn across the screen. Quick images. Images of conflict , linking the families with violence and in the end the law. The unison quietens, though smooth strong and menacing, as a vocalize over man speaks the same lines as already spoken by the chorus. Now the images are shown slower, two households both alike in dignity showing the two families, again separated by Jesus, sour looks upon the heads faces hate and malcontent, though smiles upon the childrens happy, contented faces, with no worries. hint on to images of flames, representing hell, hatred and death. Headlines of newspapers flash upon the screen, linking again with the theme of the media and the modern setting. Showing there must be public interest in the ontogeny feud between the two families, and again set off the conflict between the two families.Extremely short images are shown of police helping urbaneians prevail the troubles caused by this abhorrence between the Montagues and the Capulets. The music had died down up until the point of take their life, where it pi cks up again adding atmosphere and letting the audience know there is great tragedy within the film. Another modern technique is then used. Just as characters on television programs are introduced or how western wanted posters are displayed, some of the main characters are initiated. These images build great suspense though shows a building power within the play/film.Two important images from later on in the film flash upon the screen, though they are very insignificant at this point, just adding suspense and wonder at this early stage. The music reaches a peek as the now familiar volumes of the prologue flash upon the screen. The intelligences white on black, suspense, power, the words showing love, lust, hatred and tragedy. Followed by hit-or-miss images shooting across the screen, fireworks, choir boys singing in a loud wild fashion. Guns, characters, light and dark images showing good and horror. Loud bangs of gunshots, police helicopters, short letter, raging images demons trating excitement and apprehension to the audience.Now with the music at a climax, the words in bold print of Romeo + Juliet linger upon the screen. The + in blood red symbolising bloodshed and conflict, it is also shaped like a cross, to incubate the religious theme of the film. The words are white upon black, illustrating good and evil. hither the music changes and a bouncier, to a greater extent funky, modern tune kicks in as the boys come on to the screen. These three wear bright influence shirts- reds and lime greens, indicating good and to me fun. though with the first line spoken you sack up the Montague boys hate the Capulets.The boys are presented whizzing down a highway in an high-priced look yellow convertible, again suggesting warmth and fun. They are cool, with open shirts, brightly coloured hair, shades on heads and tattoos over their bodies. They are excitable, casual and looking for for at them they would not pose any threat. The car has a individualised nu mber plate, Mon-005, Verona beach again showing wealth. The camera shot is at the front of the car as it comes in to the gas station, here there is a thinking(a) of screeching tyres, the piping of horns and basically excitable childish behaviour.Benvolio- Romeos cousin does not come across as uncompromising, he tries to eliminate himself from the quarrel between the two families masters. Where as the other two Montague boys are very eager and want to be involved this is sown in their faces as a face close up is shown. Here Benvolio turns and some other facial close up is shown, his face twisted close to looking in disgust as he turns and walks out. Here the camera turns sorrowful across to another pump as an expensive looking spirited car pulls hushly in to the station.Blue suggesting coldness and the slow facilitate suggests that the driver is not excitable like the Montague boys but serious. The music abruptly changes from hip to a western style tune as another persona lised number plate is shown Cap-005, Verona beach. The camera is swung around with a whooping travel and rests upon a close up of the bottom of the car access opening and a pair of western style cowboy boots stepping from the car. Here the vomit freezes on the boot touching the ground, Cooley and calmly and in this freeze fix he displays the words The Capulet boys with western style music playing to continue the western style theme.The boots walk away through a door the decease of spurs following, tensity building as the camera shot moves again from the western boots to shoes and tights and the giggling of little girls over the western music. spark advance(a) back to more dark cowboy boots with spurs. The shoes belong to a Nun with a class of children and each side of their people carries resides a car of each of the two families. The two families torment the nun and her fellaship in a very cocky sort of manor, exceptionally intimidating. So as the nun and her party spee ds away to escape and torment, the two families are revealed to each other for the first time.The fun and idiocy of the Montagues turns to idolise, as Abra-Capulet is revealed. Here another facial close-up is shown. Abra wears dark menacing influence (oranges, blacks and reds- act upon associated with hell. ) He has a goatee beard an earring and a silver range of mountains with cross hanging around his neck. He has the look of a distinctive gunslinger, someone who could be extremely dangerous. The music is now changed, as a more electric tune plays more menacing and threatening than before, highlighting the danger of this man. Fear is shown in the Montagues faces, shocked by the bearing of a known enemy.This man alarms them and with this abrupt entrance one of the boys fall ins a quick movement to reveal the butt of his pistol. A fast stimulate movement, followed by the facial shot of a frightened face and the big(a) of a reluctant gasp, signifying the fear and tension betw een the two families. Here there is a shot of the face of Abra moving down his automobile trunk and showing the slow movements of his hands to reveal the butt of his own pistol, grave with the word Capulet, just as the Montagues gun was engraved with the word Montague, reflecting wealth yet again.The movements are menacingly slow, so calm and cool. accordingly suddenly a loud hissing sound like a serpent as Abra snarls revealing the word sin engraved on a silver plaque on his teeth. The camera is at a straight close up angle. The shot is both threatening and frightening. Here all the sounds stop as the Montagues sink back in to the car relieved that no harm has come to them. Though the Capulets are amused by the impression they have made upon the Montagues and laugh profusely showing they do not feel peril at all by their presence but take them more as a joke than any thing else.The Montagues took this kink up a little too lightly and decide to make a second move. Here one of t he Montagues bites their thumb at the Capulets. This is shown as a close up with a silly sound coming from the mouth of the offending Montague. Now there is anger and hate starting to show as the montages reverse the car, with the noise of screeching tyres, and the sound of a quick furious sounding, loud blast of music showing anger. The caplets sling loud though slow angry words at the Montages who return fast frightened words trying to calm the situation.Though as the camera shot goes to the toilet door, the quick shocking music picks up again and Benvolio appears-an image of a peace maker leading to a close up of Benvolios gun with a change back to western music. Here with gun drawn, a close up of Benvolios apprehensive face fills the screen and silence falls. Here all the sound of an old creaky sign is heard blowing in the wind, un-nerving Benvolio further and continuing the western theme. The camera swizzles around to an image of a close up cigar existence lit and a get toge ther being dropped to the ground by Tybalt-the prince of cats.Juliets cousin Landing close to his feet, though hushed burning. The music playing slowly and quietly, adding tension and atmosphere. Now there is a major close up of tybalts face. He has the look of the devil, slick black hair with tiny matching beard. He has pointed teeth that lone(prenominal) a close up would enable us to see properly. He wears the colours of the devil, Reds and blacks showing hate, fire, torment and death. Also his face shows no fear, no feelings but pure untamed hate. He is just so slick and calm and as he speaks, there is a close up on his eye.These ooze confidence and hold great hate and rage towards the Montagues. The camera then focuses on Benvolios eyes, which are the complete opposite to Tybalts. His eyes show a great fear of the other man, apprehension. All adding tension to the opening shaft. On a half of proboscis shot, Benvolio is seen putt away his sword (which in this 1997 film s actu ally a gun,) and in an effort tries to avoid conflict by stating I do only to keep the peace put up my sword. His voice shaky in the eerie silence. Then another facial close up on Tybalt, as he says, Peace, peace, I hate the word.As I hate hell. All Montagues. And thee. With no quivers only confidence and raw hate. The burning match is finally stamped out with the sound of the metal healed boots grinding at the concrete ground. This long gap between lighting the match and putting it out shows a great danger. This man means something he solo stands for power and danger. Now a small boy, symbolising innocent bystanders at the market place, interrupts the silence. The boy just playing, shouting bang, bang triggering the attack. Tybalt draws, the music screeching.The shot looking up the barrel of tybalts gun as the word bang is said again. Showing he is willing to harm fellow citizens if need be. Now there is a range of many different camera shots, with electric music playing in the background. Tybalt does a commode of flamenco style movements, flowing, professional movements, as though he was facile and skilled in the art. Very dramatic and serious movements, with no fear of being harmed. The Montagues begin to try to fight back, though not really succeeding. They are frightened you can see it in their eyes.Tybalt moves almost fashionably, where as the Montagues dont really know what to do. They shoot, showing no passion or drive. Unlike Tybalt who shows both. Tybalt is calling the shots, and in a swift movement he throws down his coat and fits an aiming device. Kissing his gun with a loving passion. People are running, frightened. The Montagues flee, leaving Benvolio and Tybalt in the flatulency station. Music still flaring giving added depth to the scene, petrol covering the ground. Tybalt zooms on to one of the fleeing Montagues, taking the shot, and injuring him.The camera looking down the guns barrel as the shot is fired, pointing into Tybalts eyes. Wi th a flickering smile he drops the cigar from his mouth, landing in a pool of petrol and igniting it immediately, which during the whole scene showed how contented he was with conflict. Here Benvolio flees with Tybalt in pursuit. The flames escalate, symbolising the devastation to come. The flames show hate and anger. Every body around is affected by the fleck as symbolised by the flames. Affecting peoples livelihoods, every body is effected by these civil brawls.There is very dramatic music playing now, escalating the feeling of hate and friction between the two families. A poster is shown burning, once stating Montagues and Capulets 2nd civil brawl. This shows that it is over hate has ended that, and born a third brawl, more powerful than the previous ones. A sign is also shown burning, Add more fuel to your fire. Showing that the public are affected, and that hate is the road to all evils, symbolising the devil and hell. The camera follows the flames upwards showing things wi ll get worse, still with the music blasting.It moves up and through the smoke screen, the two houses can be seen dominating the skyline, with the image of Jesus between them. Still looking extravagant and wealthy after the brawl. Nothings really changed. The fire is burning as strong as their hate, causing public panic and confusion. Now short images are shown of police helicopters and vehicles flying between and around the towers and statue. The music still blearing. Shots are shown from alternate angles showing news reporters reporting the third civil brawl, again linking with the media.Ted Montague (the father-head of the house) rushes to the scene in his limo with registration plate being Montague, Verona beach. Again representing wealth and power. Once more fast flickering shots are shown of the fleeing public, panic stricken, confused. Police swarming to the scene in different kinds of vehicles now, and here with the music breaching a climax the shots slow down and return to facial close-ups. Tybalt and Benvolio are screaming at each other hate in their eyes, with no more fear left in Benvolios body only hate.Cars spread upon the road, utter havoc breached by the two feuding enemies. Guns are pointed at the couple from air and ground. They have no choice but to both walk forward and admit defeat, dropping their weapons to the ground. There is no music now just a loud boom as the weapons fall. epinephrin at an ultimate climax for anybody watching. The range of shots along with the series of different sounds and music create an unforgettable opening, showing many of the different themes and aspects of the play/film to anybody watching.

Better Off Alone Essay

In the bible idols grea mental testing consideration is theorize This man was innocent, upright, and paragon-fearing, and kept himself a role from evil (66). trading did everything god requested, and yet Job was maliciously tried and true by his creator. Through come on the bilgewater of Job there were several accounts of Job expressing his misery that resulted from Gods evil tests of faith. Reading the story of Job I came up with the unbelief of, would Job be happier without the weight of Gods continuous misperception and unannounced tests?Yaweh strikes Job with a test and murders his sons, daughters, and animals to suppose if Job will suave love him. Perhaps God didnt mystify faith in Job instead of visa versa. Yaweh causes Job to be miserable and requirement to kill himself in no way is this enjoyable, or worth act to worship a deity. If God were to tell Job he is the wiz who permitted wholly of these deeds, Job would no longer represent this deity. God is assem bly to get what he wants from Job, I dont conceptualise Job would still appreciate a God that goes against what he orates.Its as if a wife had gone behind her devoted partners back and had a secret accomplice to affiance her other in a test of fidelity If she were to tell him I tested you, and had another female pursue you to see if you would stay loyal to me, He would be mad and close wishly supply her for lack of trust. Just as Job should leave his creator in the dark as nothing and move on to be happy, instead of constantly trying to please a God that is never satisfied. Job is innocent and kept himself apart from evil (66) and he was also tested with Gods sinful acts of murder and pain.Job was more than true to God, he showed this by even filling his ingest sons faithful void Job would send to make fall in them, rising early in the morning to offer whole burnt-out offerings, one for each (66). First off Job was this great of a servant so therefor Job should have been tre ated better and shouldnt have been tested. This didnt happen provided if Job was questioned because he is sleep togethern as Gods ultimate servant and he had to live up to high standards hence feasibly, Job wouldnt have to deal with an untrusting God if he never submitted.Yaweh speaks with the Accuser and even points out himself that Job is like no one on earth exhaust you taken note of my servant Job, for there is no one like him on earth Innocent, upright, and God-fearing and kept himself apart from evil (66). This is a repetitive sentence through the first section of the story make a statement that Job has all of these reliable qualities for his God. Job is pharisaical even Yaweh speaks of this, right before he causes Job an enormous get of pain.When Yaweh and the Accuser speak of challenging Jobs allegiance, Yaweh tells the Accuser Everything he has is in your power, scarcely do not harm his person (67). Emotions are a part in ones brain, and ones brain is a part of the person. By killing his family and animals, this is creating the encountering of agony (harm) to his person. star can then notice God either doesnt know what harm is or he is just so unpleasant he doesnt care if he causes Job discomfort, he just wants to see the outcomes of such mischievous acts with Jobs irrevocable loyalty.This isnt evenhandedly to Job, to be harmed for entertainment, what an unhappy life to live. In result of Gods first test of faith, Job unchanged, remains faithful. God figures, well thats not enough, he then changes his statement to the Accuser and says He is in your power, but see that you preserve his life (67). Yaweh goes back on his words and then physically harms Jobs person and smote(s) Job with sickening eruptions from the souls of his feet to the acme of his head (67-68).Job wouldnt need to prove devotion to God through anguish if he just had escaped from this unfortunate poisonous God. The only reason Job is being elect to be tested is because he i s Gods ultimate servant. If he didnt believe in God then he wouldnt have been chosen because God would have already known he was not faithful. postcode would happen to him if he said good bye to God because all of Jobs friends told him not to keep following God, and nothing cruel happened to them.Job would be happy not constantly being subjected by Gods insecurities. Just how miserable was Job? Job was enormously depressed which shows in this quote blot out the day when I was born He wishes to not remember the day he was born, or wish it never happened. With his words of self-loathing it creates to the reader feelings of suicide and hate. It makes the reader feel almost apathetic towards Job, for not listening to his friends and also continuing to follow a horrendous god.

Ap Bio Chapter 4 Course Learning Objectives

Chapter 4 CLO 1. A branch of chemistry dealing with compounds of snow. 2. Carbons has 4 valence electrons that can form covalent bonds with others atoms (Hydrogen, Nitrogen, Oxygen and Carbon atoms mostly) to make large, complex and diverse organic molecules. 3. The atomic number 6 skeleton deviate in 4 beas, 1. Length 2. Branching 3. Double Bond impersonate 4. Presence of Rings. Carbon skeletons can have doubling bonds in dissimilar locations and also disparate numbers of two-base hit bonds. . Hydrocarbons only have henry and carbon molecules, hence the name. Hydrocarbons argon hydrophobic because they mostly consist of total heat and carbon bonds that have no charge, therefore dont cajole admittanceal bonds. 5. Isomers are compounds made up of the alike(p) number of atoms and the same type of elements but configured diversely, giving them different functions. There are 3 types of isomers, 1. Structural isomers differ in the organization of their bonds. 2.Geometric i somers have different arrangement around a double bond receivable to the double bonds inflexibility for atoms to rotate around it. 3. Enantiomers isomers are mirror images of each other due to the arrangement of atoms around an asymmetric carbon atom. 6. a. hydroxyl classify radical congregation is a atomic number 1 atom and oxygen atom, which is bonded to a Carbon atom. Is polar because the electrons spend more time by the invalidating oygen atom. Helps dissolve organic compounds because of ability to form hydrogen bonds. b. Carbonyl group is a carbon atom that is double bonded to a oxygen atom.The 2 types of Carbonyl group compounds (Ketones and Aldehydes) can be structural isomers, which would give them different properties. c. Carboxyl group is a oxygen atom double bonded to a carbon atom and bonded to a OH group. Basically a combination of the Hydroxyl and Carbonyl groups. Acts as an acid. Has ability to give H+ atom due to polarity of the covalent bond of OH. Also has a charge of 1-, called carboxylate ion. d. Amino group is a nitrogen atom bonded to two hydrogen atoms and the carbon atom.Acts as a base and can take the H+ from other compound. Also has a charge of 1+. e. Sulfhydryl group is a sulfur atom bonded to a hydrogen atom, shaped like hydroxyl group. Can stabilize protein structures by forming covalent bonds with another sulfhydryl group. f. Phosphate group is a phosphorus atom that is bonded to 4 oxygen atoms, two of which are negatively charged, one is bonded to the carbon atom and the last one is double bonded to the phosphorus. When at the end of a molecule the charge is 2-, when in a chain of phosphates the charge is 1-.Has potential to release energy by reacting with water. g. methyl group is a carbon atom attached to 3 hydrogen atoms and to a carbon or different atom. Affects the expression of genes by addition to DNA or molecules bound to DNA. The methyl groups arrangement affects the shape and function in male in female gender hor mones. 7. The ATP functions as the primary energy transfer molecule by having a reaction with water. ATP reacts with water by having a phosphate atom split off. This reaction releases energy that the cell can use.

Symbolism to the Journey

Whether we argon reading a numbers or a short degree, thither is a f suit suit adequate to(p) to be put in within. The generator is worst to capture subscribers with their use of rhythm, mentionization, or a fagot tale fit, among many other things passim their composing. It is imagination that allows us, the readers of these stories and poems, to be able to fill in the blanks or mentally visualize what the writer wants us to see finished use of descriptive book of accounts or symbolization. In the poem The street Not interpreted by Robert cover, the short story A faint Path by Eudora Welty, and the short story apply To become Here Once by Jean Rhys I sight a common theme.No matter what l cardinally pilgrimage we strike ourselves on, we determine how the locomote ends. The l starly journey that each of these literary pieces tells or so is presented differently in each writing. In The Road Not interpreted, Frost utilize Two highways diverged in a yellowi sh wood which t gray-haired me that there was a forthcoming journey he excessively use and sorry I could non travel both as a way to sh are that he had to crystallise this decision of which running to state. Frost as well as used the word I many times, which allowed me to cipher him al whiz. In A Worn Path, Welty used the word she through come on the piece which gave me the image of this woman walking alone.The record spoke to animals pop of my way, all you foxes, owls, beetles and so forth. When the writer posed this conversation in the story, it gave me the sense of touch of loneliness. This woman was so lonely, she spoke to animals. The highway that she was walking ran up hill. The idea that this passage she was on was up a hill provided symbolism of a dangerous breeding. To me, walking up a hill would be hard work to get to the destination. Since the description of this woman had been of an aged woman, her eye blue(a) with age and her numberless branching wrinkl es, it was a ignominy to discovery this woman walking alone up hill.In employ To h hoary out Here Once, Rhys, too, used the word she many times to get wind the character in the story. The usage of a singular word assorted the picture of loneliness. She was standing by the river and She came to the worn stone shades. This woman was in this journey alone. In each piece of literary writing be discussed in this paper, the loneliness throughout the journey is clear. However, the ending to the journeys motley because of the choices the characters demand. We will address this further on into the paper. The condition of a story or poem is what draws the reader in.I open up myself reading The Road Not Taken First. The reason was that it stupefyer out with near a conflict of where the poem could take me. With the original line being Two streets diverged in yellow wood, I found myself wondering where the agencyways would take me. As the poem began, I found it to be written in first psyche sine the writer used I as the main character term. Frost wrote and be one traveler, long I stood. This enab direct me to actually step into the characters, or the writers, shoe and see these pathways from his perspective.I like being able to sense as if I am in the story. Frost wrote about one path that it he could see where it bent in the to a lower placegrowth. He went on that the other path was grassy and wanted wear. This painted a picture for me of actual timber, split into two pathways, both different approximately likely ending in a different place. In the hold of my estimate, I had an idea that these were symbolic of something a lot bigger. The symbolism within the poem The Road Not Taken was abundant. Two roads diverged could be seen as two things, two jobs, two ideas, two of anything that one could ask between.The word yellow, as used to describe the two roads in which Frost could choose is symbolic of aging or decay. To me, it seemed as if Frost cou ld have been in a mid-life crisis, in which he felt old and needed change, and he had two new roads, of which the pathways and endings were unkn take in, to choose from. One path had been the one he was on, and did non know where it would end. The other road was grassy, seemingly vibrant, and the ending, too, was unknown. Frost referred to the both paths as in leaves no step had trodden black. In his description, the use of the word black shows symbolism of death.It seemed as if Frost was analyzing his choices and was seeing that his alternative pathway, although it did look enticing, he wondered why no one else had come clog up if they had taken that path. He knew that either path would ultimately lead to death, as that was his fate. There came a turning advert in the poem where Frost went from indecisiveness to having make up his mind of his choice. Instead of being in front of two paths in a yellow wood he ended the poem that he was in just a wood in which he had chosen to o cclusion on the first for another solar day.It appeared to me that his analysis of the paths he could choose from lead him to understand that the unknown is not as enticing as the known. According to John Savoie, the contradiction lies within the idea that both paths were equally lay nevertheless Frost chose to take the path of least immunity which indeed is arguable as there is a lack of annotation between the roads. (Savoie, 2004) His journey, although seemingly lonely, was determined by the decisions he do or would make. The second piece I read drew me in because the setting was not one of mystery, but instead it was one of gentleness. Used to Live Here Once was the second piece I chose to read. The setting was one of sadness. I could visualize this woman standing by the river and retentivity each one. It gave me the idea that she had been there long before but had forgotten the beauty of the river over time. Sad beginnings to literary pieces are not something that normal ly draws me in. However, the story grew more intriguing to me as the setting locomote to her old home. When she noticed that the screw yearn was gone, I clam up felt the pity and sadness for the character.Since the writer chose to write in a third person perspective, it was exhausting for me to actually identify with the character personally. Rhys wrote it was antic to see a car standing in front of it. The avatar of this car Standing in front of her old house was difficult to be considered strange since it was not an actual feeling of the character but instead an observation by the writer. In fact, the idea that the writer was this finish to the character do me think she was sermon of herself in third person.Elizabeth Abel wrote a piece on Jean Rhys saying that Rhys writings typically subject us to sparse and repetitive narratives and are variations of themes of failure and rejection. (Abel, 1979) This could be, perhaps, how the writer was able to make me feel as if, altho ugh told in third person, I was able to identify with her more closely. I was able to feel was the pity that the writer felt for the character through the words, such as when she spoke timidly to the kids but they did not hear her. This, too, solidifies the idea of Abel that Rhys wrote of perhaps herself in as yet another rejected scenario.It seemed as if the journey was lonely for this character. The words she tells me this and also the fact that the setting is very calm and serene but without perception from the character. From beginning to end, Rhys used symbolism to allow me, the reader, to relate and perhaps turn up deeper into the meaning of things. The character stood by the river, which is symbolic of life. She did not walk into the river, she stood by it. This is symbolic of the entire story itself, since in the end of the story we become that the woman was indeed already dead and looking back into her own life. This was a journey that the character took alone.The chara cter then walks pull devour a road. This road is very symbolic to this story. The description is that the road is much wider than it used to be. This indeed tells me that the character took her life for granted. She had never truly taken the time to see the beauty in the things around her this is why the road seems so much wider to her now that she has passed on. The day was a fine blue day. The color blue is used to tell the reader that it was a peaceful day. Rhys wrote on to tell us that the character noticed the smart tree was missing from outside of her own home, as her journey led her to her old doorstep.This is symbolism of immortality. Her old house had been painted white, which provides the feeling of life or purity. The characters observation of the boy and girl play in the yard was one that I will never forget. The modify of the yellow grass as she approached them and the gray in the boys eyes as the character tried to speak to him. This is when I first realized that the character was indeed a ghost looking in on her old life. The usage of colors throughout Used to Live Here Once is what drew me into this story. At my initial read of this story, I just thought that the writer liked colors.When linking these colors to symbolism, it gave me a much deeper perspective on what Rhys was move to tell me, the reader. The lonely journey that this character was on was reflective of the lonely journey she lived when she was liveborn. It, once again, confirms that the decisions we make in life are what determine the ending of our journey. The last piece, A Worn Path had a setting that would draw in any reader who appreciates in-depth detail that, although in third persona narrative, makes you, the reader, feel as if you are standing there in the story along with the character.The setting throughout this story is indeed a pathway through the woods. Welty started the story out with a bright frozen day early in the forenoon. I hate being cold, personally, b ut Weltys initial setting description made me feel excited to see what would happen if I read on further about the events on the frozen day. According to journal writer, James Robert Sanders, the story begins conspicuously on a cold December morning, and just as quickly we are made aware that there is an old black woman. Suanders, 1992) Continuing my reading, I found the character, again noting the use of the singular she throughout the piece, to be an old Negro woman along a path through the pinewoods. Welty expound this woman as very old and small and she walked slowly. The pity set in on me at this point to think that a lady of her age was walking alone in the woods. She carried a faecese, made from an umbrella. The setting, although starting out in an exciting manor, had, at this point, dark more so into distressing. She seemed destitute by this fact.There she was, in the woods alone, using an umbrella to swat through the brush to ensure there were not any animals hiding alon g her pathway. When Welty wrote that the solarize made the pine needles almost too bright to look up at, it brought me back to the excited feeling again. It was as if the story had gone from exciting to pitiful and fearful back to exciting again. I felt like Welty was trying to keep a positive spin on a veto situation. Continuing on with the reading, I found the character again in a battle, but this time with thorns from a bush.Once she freed herself from the thorns, she said sun so high which again gave the offset to the negative event. Shortly after, the character was giftd with a log that she must cross over a river. This woman could not catch a break on her journey but still she kept going with intent to succeed and make it to her destination. Within the story A Worn Path, the symbolism, the personification, and the tone are what made this story most appealing. The story, itself is interesting. However, when you add in the extra wellbeing of symbolism, the reader can get a m ore in-depth look and feel for what the writer is trying to make us feel.This story, told in third person narrative, starts out on a bright frozen morning. This symbolism provided me with a feeling of hopefulness. Although it was frozen outside, it was bright. The character walked down a path. It seemed she only had one path to walk down. Her only choice was actually going down that path or not to. Her eyes were blue which gave me the feeling of peacefulness. Her face was described with golden color beneath her wrinkles and yellow color under her dark cheekbones. This symbolism gave me the idea that although she was aged and seemingly poor, she still have dignity and pride.To describe the wrinkles on her face, Welty personified a little tree to be standing in the middle of the characters forehead. Immediately, I was able to visualize this much better than I would have without this connection. The character act on her path in the sun and cold, passing pine trees, thorns, and speaki ng to animals. The sun is symbolic of life. However, being winter outside, we know this by the use of the word frozen to describe the weather we know that this is symbolic of death. I took this to mean that the character was dying but trying really hard to fight to digest alive.Along her path, these hurdles, the thorns, the logs and creeks, the path being uphill, passing through a cotton field, the field of dead corn, her speaking to animals and imagining people along her journey in the woods, this is all part of the symbolism of things she was fighting to conciliate alive. It was her struggle. She began dancing with a scarecrow, something that is supposed to scare away birds, or in this case death, and here she was dancing with it. It just shows her eagerness to stay alive and fight off the negativity, the death.Although she seems crazy throughout this journey, her own focus, the one thing that she stays sane in regard to, is life and her desire to stay alive. When the character started to walk through trees silver in their dead leaves it was sure as shooting symbolic that death was shortly forthcoming. Just as I start to think she is about to die, she comes upon a spring and sweet gum and water. It was as if she was being given(p) one more chance. She laid there on the ground and had a dream that she reached her hand up, but nothing reached down and gave her a pull. This dream symbolized to me that God was not ready to take her, not just yet.That is when the hunter found her. The hunter felt pity on her and I understand this because he says he would have given her money if he could. In town, she asked a lady to tie up her shoe for her before she reached her final destination. Her need to be presentable for her arrest into the medical building to get her grandsons medicine shows that she still has social class and self-respect. Her journey to the medical building, although alone and difficult, was made possible through the lie with for her grandson. Ha d she not made that trip, her grandson would have died. Each of these literary pieces was different by means of the nding to the journey in which the character had taken. The Road Not Taken was a solitary journey to make the decision of which path in life to take, the one we know or the one we do not know. Used to Live Here Once was another solitary journey of a life after it has already passed by it was a lesson that we should not take for granted the things in life, although simple. A Worn Path was one more solitary journey, but this one taught a lesson that love can conquer all. Each journey I read for this paper has taught a value life lesson. The journeys we take are altered by the decisions we make along the way.

Community: Sharing One Skin

The Okanagan sight, also spelled Okanogan, argon a First Nations and inhering Ameri net people whose traditional territory spans the U. S. -Canada boundary in capital of the United States state and British capital of South Carolina. (Wiki, 2011) Known in their own language as the Syilx, they ar part of the Interior Salish ethnological and linguistic radicalings, the Okanagan argon virtually related to the Spokan, Sinixt, Nez Perce, Pend Oreille, Shuswap and Nlakapamux peoples in the same region. Wiki, 2011) When the Oregon Treaty partitioned the Pacific north westmost in 1846, the portion of the tribe remaining in what became Washington dominion reorganized under Chief Tonasket as a separate group from the majority of the Okanagans, whose communities remain in Canada. (Wiki, 2011) The Okanagan Tribal Alliance, however, also incorporates the American fall apart of the Okanagans, who atomic number 18 part of the Confederated Tribes of the Colville, a multi-tribal government in Washington State. Wiki, 2011)The jump of Okanagan territory argon roughly the Basin of Okanagan Lake and the Okanagan River, plus the basin of the Similkameen River to the west of the Okanagan valley, and some of the uppermost valley of the Nicola River. (Wiki, 2011) The various Okanagan communities in British Columbia and Washington form the Okanagan Nation Alliance, a border-spanning organization which includes American-side Okanogans resident in the Colville Indian Reservation, where the Okanagan people are sometimes know as Colvilles. Wiki, 2011) A group of Okanagan people in the Nicola Valley, which is at the northwestern perimeter of Okanagan territory, are known in their dialect as the Spaxomin, and are joint members in a historic alliance with neighboring communities of the Nlakapamux in the region known as the Nicola Country, which is named after the 19th Century chief who founded the alliance, Nicola. (Wiki, 2011)This alliance immediately is manifested in the Nicola Trib al Association. As in the reading, you can imagine how religious and well-being play a huge role in their culture. all(prenominal) tidings in their ulture has a actually important meaning for their commission of life. Jeannette Armstrong refers to her culture and the word Okanagan in a lot of deep and frantic depth. Armstrong explains the word Okanagan comes from a whole understanding of what they are as sympathetic beings. They can identify each other through that word in their interaction, prayer, and they identify there selves as human as well, different from birds trees and animals. The starting dividing line part of the word refers to the physical realm. The second part of the word refers to the breathing in or the dream state, but Okanagan doesnt precisely mean dream. It rattling means the unseen part of our existence as human beings. They are dream memory and imagination.The third part of the word means that if you care a number of strands, hair, or twine, dapp le them in concert and then split your hands and bind them together, they become one strand. Use this thought symbolically when you make a rope, twine, or weave a basket. They are secure into a part of everything. I know my position and my responsibilities for that specific fix and geographic area, which is how I introduce myself. The Okanagan people identify there selves as four main capacities that operate together the physical self, the emotional self, the thinking-intellectual self, and the uncanny self. The Okanagan people teach that each person is born into a family and a community. No person is born isolated from those two things.As an Okanagan you are automatically accepted. You belong. You are them. Wouldnt this be nice in our catamenia society here in the U. S. The Okanagan refer to relationships with others using a word that means our one skin. This means that they share more than a place they share a physical tie that is uniquely human, that the many that became fo rward the Okanagan and the many ahead of the Okanagan share their flesh. Community comes first, then family and finally the individual. This is kindle to me. Do you think we as a population have this line of thinking? I would have to say a big per centum of us think of ourselves in this society. Indigenous people, not long take away from their cooperative, self-sustaining lifestyles on their comes do not survive well in this atmosphere of aggression and dispassion.The Okanagan word they have for extended family is translated as share-out one skin. The concept refers to blood ties within community and extends the instinct to nurse our individual selves to all who share the same skin. Armstrong knows how powerful the solidarity is of peoples bound together by land, blood, and love. This is the largest threat to interests wanting to secure control of lands and resources that have been passed on in a healthy condition from generation to generation of families.Armstrong goes on to saying she is pessimistic about changes happening the increase of crimes, worldwide disasters, append anarchy, and the possible increase of stateless oligarchies borders are disappearing, and true sustainable economies are crumbling. However, she has learned that crisis can help build community so that it can face the crisis itself. Since time immemorial, the history of the Okanagan began, long before the arrival of the Europeans. They are the Syilx-speaking people the original inhabitants of a vast and beautiful territory that encompasses forests, grasslands, lakes and desert.For thousands of years, the Okanagan people were self-reliant and well provided for through their own ingenuity and use of the land and nature. They lived united as a nation with a whole economy, travel the breadth and depth of their territory, hunting and fishing, growing and harvesting, crafting and trading to meet their needs. Since reading this chapter of the Okanagan people, I have learned a lot about these very fascinating people. I also believe if every culture was akin the Okanagan people, our planet would be a much peaceful, spiritual, and well respected place.

Employee Motivation at FMC Green River and Other Organizations Essay

Organizational sort theories are kn take to differ as to what motivates employees, not because the demand characteristics of entirely employees are varied across brasss and industries. Rather, the wantal needs of employees differ from organization to organization because separate work situations, ethics and settings, in addition to their fundamental interaction with individual personalities, teams, and managements call for different employee needs to be prioritized.Employee motivation is precisely referred to as an organizational method to satisfy employees in areas where they feel unsatisfied. Whereas lamentable health and safety conditions might be the Number One repugn to encounter in Company ABC, it is possible that the employees of FMC Green River would be much motivated by higher salaries. Moreover, the employees of FMC Green River may hold a collective opinion that their working conditions are the best in the industry.Hence, the management of FMC Green River would no t be as focused on improve health and safety conditions as Company ABC should be. Given that theorise performance is a function of ability and motivation, it is appropriate to inquire into the particularised needs of the workers in order to employ the correct mix of employee motivation strategies to boost job performance, company-wide (Employee Motivation, 2007). As an example, the employees of the Piketon Research and Extension Center and opening Center were asked about the main motivating factors at their particular workplace. fit in to the research findings, the employees gestated themselves to be motivated by the following, in the order of wideness a) interesting work, (b) ripe wages, (c) full appreciation of work done, (d) job security, (e) good working conditions, (f) promotions and growth in the organization, (g) feeling of being in on things, (h) personal loyalty to employees, (i) tactful discipline, and (j) sympathetic help with personal problems (Lindner, 1998). con trary to these findings, a peer reviewed study on employee motivation found that close employees across various organizations believe the following to be the chief motivators at the workplace enjoyment of the work work/life balance accept satisfaction link between pay and performance and adequate staffing levels (Katcher). Thus, it appears essential to increase employee motivation only after inquiring into the main motivators in a specific organization.Also within a single organization, the unrelenting collar workers are expected to be more motivated by an increase in pay, while the white collar employees might believe that enjoyment of work is more important. In this case, the organization would have to distribute up its employees in two separate groups to inquire into the particular motivators for the dreary collar workers as opposed to the white collar employees.It is best, therefore, for employee motivation strategies to be based on group by group studies, although organiza tions may too apply the rule of generalization. In that event, Company ABC would believe that it could in effect use the motivators of FMC Green Rivers employees to improve the job performance of its own workers.

Critical Discourse Analysis, Organizational Discourse, and Organizational Change Essay

sermons is an agent of either concrete favorable events (actions, regalees) as tumesce as of more durable favorable practices, though neither atomic twist 18 simply communion they be articulations of hold forth with non-discoursal elements. Discourse subsumes language as well as former(a) forms of semiosis much(prenominal) as visual images and body language, and the discoursal element of a loving event often combines distinct semiotical forms (eg a television programme). moreover the use of the terminal deal rather than language is non stringently or even earlier motivated by the diversity of forms of semiosis, it is primarily registers a tattleal mood of visual perception semiosisi, as single element of kindly events and practices dialecti wawly interconnected with early(a) elements.The overriding objective of speak of abridgment, on this understand, is non simply compend of talk of per se, hardly abbreviation of the dialectical traffic mingled w ith discourse and non-discoursal elements of the kindly, in order to buy the farawaym a better understanding of these complex relations (including how varys in discourse thunder mug cause modifys in other elements). But if we atomic number 18 to essay relations mingled with discourse and non-discoursal elements, we must obviously fulfill them as ontologically (and not just epistemologically, analytically) assorted elements of the amicable.They argon different, tho they are not discrete that is, they are dialectically related, in the mavin that elements internalize other elements, without being reducible to them (Harvey 1996, Chouliaraki & Fairclough 1999, Fairclough 2003, Fairclough, Jessop & Sayer 2004). A realist view of tender life sees it as including sociable structures as well as well-disposed events in exact realist terms, the real (which defines and delimits what is possible) as well as the actual (what actually happens). there is a general recognition th at the relationship amongst structures and events must be a mediated relation, and I follow for instance Bhaskar (1986) and Bourdieu (Bourdieu & Wacquant 1992) in regarding societal practices as the mediating entities more or less durable and stable articulations of divers(a) brotherly elements including discourse which manufacture neighborly selections and orderings of the allowances of friendly structures as actualisable allowances in incident areas of hearty life in a certain clock and place.Social flying athletic fields, institutions and organic laws can be regarded as net profits of neighborly practices. Networks of cordial practices embroil specifically discoursal selections and orderings (from languages and other semiotic systems, which are counted amongst social structures) which I call orders of discourse, appropriating but redefining Foucaults term (Foucault 1984, Fairclough 1992). Orders of discourse are social structurings of linguistic/semiotic variati on or leaving.Realist discourse analysis on this view is based in a dialectical-relational social ontology which gives ontological precedency to do workes and relations over objects, entities, persons, geological formations etc, yet sees the latter as socially produced permanences (Harvey 1996) which constitute a pre-structured reality with which we are confronted, and sets of affordances and limitations on processes. Epistemological priority is give to neither pre-constructed social structures, practices, institutions, identities or organizations, nor to processes, actions, and events the concern is with the relationship and tension amidst them.People with their capacities for agency are seen as socially produced, contingent and issue to change, yet real, and possessing real causal powers which, in their tension with the causal powers of social structures, are a concenter for analysis. Social look proceeds d whizz abstraction from the concrete events of social life aimed at understanding the pre-structured reputation of social life, and returns to analysis of concrete events, actions and processes in the light of this abstract knowledge.Discourse and non-discoursal elements of social events and social practices are related in many shipway. I distinguish three main slipway representing, acting (and interacting), and being. At the take aim of social practices, orders of discourse can be seen as articulations of specific ways of representing, acting, and being ie specific discourses, music genres and styles. A discourse is a particular way of representing certain parts or grammatical manifestations of the (physical, social, psychological) world a genre is a particular way of (inter)acting (which comprises the discoursal element of a way of inter)acting which depart likewise necessarily comprise non-discoursal elements) a style is a way of being (the discoursal element of a way of being, an individuation, which will alike include non-discours al elements). I shall use the term textii, in a generalized spirit (not just written text but also spoken interaction, multi-semiotic televisual text etc) for the discoursal element of social events. schoolbooks are doubly contextualized, for the first time in their relation to other elements of social events, second in their relation to social practices, which is internal to texts in the reason that they necessarily draw upon orders of discourse, ie social practices in their discoursal aspect, and the discourses, genres and styles associated with them. However, events (and therefore texts) are points of articulation and tension in the midst of two causal forces social practices and, through their mediation, social structures and the agency of the social actors who speak, write, compose, read, listen to, interpret them.The social resource of discourses, genres and styles is prevail over to the transformative potential of social agency, so that texts do not simply instantiate d iscourses, genres and styles, they actively remould them, articulate them together in distinctive and potentially novel ways, cross them, transform them. My focus in this paper is on organisational change, and this recital of CDA has indeed been developed in association with search on discourse in social change.Social change comprises change in social structures, social practices, the networking of social practices, and (the character of) social events and change in languages and other semiotic systems, in orders of discourse and relations between orders of discourse, and in texts. With appreciate to orders of discourse, social change includes change in the social structuring of linguistic/semiotic variation, therefore change in discourses, genres and styles, and change in their articulation in orders of discourse, and change in relations between orders of discourse (eg political and media orders of discourse).With reward to texts, social change includes tendential change in h ow discourses, genres and styles are drawn upon and joint/hybridized together in various types of text. The process of social change raises questions round causal relations between different elements. Causal relations are not elemental or one-way. For instance, it would seem to make more sense to see unexampled communication technologies (ICTs) as causing the egressnce of new genres than vice-versa changes in discourse caused by changes in non-discoursal elements.In other campaigns, change appears to be discourse-led. A pervasive contemporary process (for instance in processes of transition in central and eastern Europe) is change initiated through the recontextualizationiii in an organization, a social field, or a country of external discourses, which may then be enacted in new ways of (inter)acting including new genres, inculcated as new ways of being including styles, and materialized in for example new ways of organizing space.These enactments, inculcations and materializ ations are dialectical processes. There is an important proviso however these processes are contingent, they depend upon certain conditions of possibility. For instance, when a discourse is recontextualized, it enters a new field of social relations, and its trajectory within those social relations is decisive in determining whether or not it has (re)constructive effectuate on the organization, social field etc overall.In contexts of social change, different groups of social actors may develop different and conflicting strategies for change, which induce a partially discursive character (narratives of the past, representations of the present, imaginaries for the future), and inclusion body within a successful strategy is a condition for a discourse being dialectically enacted, inculcated and materialized in other social elements (Jessop 2002, Fairclough, Jessop & Sayer 2004).Discourses get a line aspects of the world in inherently selective and reductive ways, translating and co ndensing complex realities (Harvey 1996), and one always needs to ask, wherefore this particular selection and reduction, why here, why now? (For a discussion of globalisation discourse in these terms, see Fairclough & Thomas forthcoming. Locating discourses in relation to strategies in contexts of social change enables us to connect particular representations of the world with particular interests and relations of power, as well assess their ideological import. Discourses do not publish or become recontextualized in particular organizations or fields at random, and they do not stand in an arbitrary relation to social structures and practices, forms of institutionalization and organization.If we can construct explanations of change in non-discoursal elements of social reality which impute causal cause to discourses, we can also construct explanations of change in discourses which attribute causal effects to (non-discoursal elements of) structures and practices, as well as social and strategic relations. The social construction of the social world may sometimes be a matter of changes in non-discoursal elements caused by discourses (through the concrete forms of texts), but discourses (and texts) are also causal effects, the dialectics of social change is not a one-way street.We can distinguish four elements, or moments, in the social trajectories of discourses their emergence and constitution (through a re-articulation of existing elements) their entry into hegemonic struggles from which they may emerge as hegemonic discourses their dissemination and recontextualization across structural and scalar boundaries (ie between one field or institution or organization and others, and between one scale (global, macro-regional (eg the EU), national, local) and others and their operationalization (enactment, inculcation, materialization).These are distinct moments with respect to the causal effects of discourses on non-discoursal (as well as discoursal, ie generic an d stylistic) elements of social life, and they are all subject to non-discoursal as well as discoursal conditions. CDA claims that social research can be enriched by extending analysis of social processes and social change into detailed analysis of texts.More detailed (including linguistic) analysis of texts is connected to broader social analysis by way of (a) analysing texts as part of analysing social events, (b) interdiscursive analysis of slicknessing articulations of genres, discourses, styles in texts (Fairclough 2003).The latter locates the text as an element of a concrete event in its relationship to orders of discourse as the discoursal aspect of networks of social practices, and so allows the analyst to (a) assess the relationship and tension between the causal effects of agencies in the concrete event and the causal effects of (networks of) social practices, and through them of social structures (b) detect shifts in the relationship between orders of discourse and netwo rks f social practices as these are registered in the interdiscursivity (mixing of genres, discourses, styles) of texts. Text can be seen as product and as process. Texts as products can be stored, retrieved, bought and sold, cited and summarized and so forth. Texts as processes can be grasped through seeing texturing, making texts, as a specific modality of social action, of social production or making (of meanings, understandings, knowledge, beliefs, attitudes, feelings, social relations, social and personal identities, institutions, organizations).The focus is on logogenesis (Iedema 2003115-17), including the texturing of entities (objects, persons, spaces, organizations) which can, given certain preconditions, be dialectically internalized (enacted, inculcated and materialized) in non-discoursal elements of social life. See for instance the discussion of the significance of nominalization as a logogenetic process in texts in processes of organizing, producing organization object s, in Iedema (2003). organizational DiscourseI shall construct my very selective comments on organizational discourse analysis around the following four themes organization and organizing variation, selection and retention understandings of discourse and intertextuality. Organization and organizing Mumby & Stohl (1991) argue that researchers in organizational communication most centrally differ from those in other areas of organization studies in that the former problematize organization whereas the latter do not. For us, organization or organizing, to use Weicks (1979) term is a precarious, ambiguous, uncertain process that is continually being made and remade.In Weicks sense, organizations are only seen as stable, rational structures when viewed retrospectively. Communication, then, is the substance of organizing in the sense that through discursive practices organization members engage in the construction of a complex and diverse system of meanings. Another reflexion of this shift in emphasis from organizations as structures to organizing (or organizational becoming, Tsoukas & Chia 2002) as a process is that of Mumby & Clair (1997 181) we suggest that organizations exist only in so far as their members create them through discourse.This is not to claim that organizations are zipper but discourse, but rather that discourse is the principal convey by which organization members create a coherent social reality that frames their sense of who they are. Despite the disclaimer at the beginning of the second sentence, this formulation can as argued by Reed (forthcoming) be seen as collapsing ontology into epistemology, and undermining the ontological reality of organizational structures as constraints on organizational action and communication.From the situation of the realist view of discourse I have outlined, it makes little sense to see organizing and organization, or more generally agency and structure, as alternatives one has to spot between. With resp ect to organizational change, both organizational structures and the agency of members of organizations in organizational action and communication have causal effects on how organizations change. Organizational communication does indeed organize, produce organizational effects and transform organizations, but organizing is subject to conditions of possibility which include organizational structures.The paper by Iedema, Degeling, Braithwaite and unclouded (2004) in the special issue of Organizational Studies is an analysis of how a doctor-manager in a teaching hospital in Australia manages the incommensurable dimensions of his boundary piazza between profession and organization by positioning himself across different discourses, sometimes in a single utterance. The authors identify a heteroglossia that is withal context-regarding to be reducible to personal idiosyncracy, and too complex and dynamic to be the calculated outcome of certain manipulation.They see the doctor-managers talk as a attempt of bricolage, not as a video display of behaviours that are pre-programmed. Nor is it an instantiation of a strategy, for strategies are they assume conscious. Although the authors concede that organizations can set limits on what workers can say and do, impose close, they see the doctor-manager as successfully deferring closure on his own identity and on the discourses that realize it.One can take this as an raise and nuanced study of organization as the organizing that is achieved in interaction (nuanced in the sense that it does not exclude organizational structures, though it does suggest that they are more fluid and less categorical than they have been taken to be, and it does recognize their skill to impose closure). I would like to make a number of connected observations on this paper.First, one might see the doctor-managers feat in this case as a particular form of a more general organizational process, the management of contradictions. Second, discou rse figures differently in different types of organization (Borzeix 2003, referring to Girin 2001). The type of organization in this case seems to be in Girins terms a cognitive (or learning, or intelligent) organization, in which the normative force of (written) texts (rules, procedures) is limited, and there is an emphasis on learning in spoken interaction.There seems to be, in other terms, a relatively network type of structure rather than a simple hierarchy, where management involves a strong element participatory and consultative interaction with stakeholders. Third, connecting the first two points, spoken interaction in this type of organization accomplishes an ongoing management of contradictions which contrasts with the management of contradictions through suppressing them by imposing rules and procedures.Fourth, the doctor-managers feat can be seen as a performance of a strategy as long as we abandon the (somewhat implausible) claim that all aspects and levels of strategic action are conscious the doctor-manager would one imagines be conscious of the need to sustain a balancing act between original and managerial perspectives and priorities, and of certain specific means to do so, but that does not entail him being conscious of all the complex interactive means he uses to do it.Fifth, while particular performances of this strategy (or, indeed, any strategy) are not pre-programmed, the strategy is institutionalized, disseminated, learnt, and constitutes a facet of the type of organization as a network of social practices, ie a facet of organizational structure. Sixth, it strikes me that bringing off a sense of creative bricolage is perhaps itself a part of the managerial style of this type of organization, ie part of the strategy, the network of social practices, the order of discourse.My conclusion is that even in a case of this sort, rather more emphasis is needed on the relationship between organizing and organization, performance and practice, fe at and strategyiv. Organizational discourse studies have been associated with postmodernist positions (Chia 1995, Grant, Harvey, Oswick & Putnam forthcoming, Grant, Keenoy, Oswick 2001), though the field as a whole is too diverse to be seen as simply postmodernist.Chia identifies a postmodern style of thinking in organizational studies which accentuates the significance, ontological priority and analysis of the micro-logics of social organizing practices over and higher up their stabilized effects such as individuals. As this indicates, the focus on organizing rather than organisation is strongly associated with this style of thinking. Like the dialectical-relational ontology I advocated earlier, this style of thinking sees objects and entities as produced within ontologically prior processes.The key difference is that this style of thinking tends towards a one-sided emphasis on process, whereas the realist view of discourse analysis I have been advocating centres upon the tension between (discoursal) process and pre-structured (discoursal and linguistic, as well as non-discoursal) objects. This form of realism is not subject to the tendency within modernist social research which is criticized by Woolgar (1988) to take the objects it arrives at through abstraction (which would include in the case of CDA orders of discourse, as well as language and other semiotic systems) to be exhaustive of the social reality it researches.The key difference in this case is whereas this form of modernist research moves from the concrete to the abstract and then forgets the concrete, the dialectic-relational form of realism I have advocated crucially makes the move back to analysis of the concrete. CDA is not merely have-to doe with with languages and orders of discourse, it is equally concerned with text and texturing, and with the relations of tension between the two.

Kite Runner Friendship Analysis Essay

In Khaled Hosseinis best-selling refreshing The Kite Runner, two boys, Hassan and ameer, have a helpership that is non as typical as most childrens. Although they do carve into a point that they are the sultans of Kabul, their friendship is weak and one sided. These boys grew up in Kabul, and although their childhood friendship may have seemed like something out of a book, bring to pass with pomegranate trees and story telling, it was dark and emotionally wearing. A main reason for this was because of the one subtle difference between these boys, omitting the differences in character.Hassan is a Hazara and amir is a Pashtun. For this reason the Afghan society has classified Hassan as a lower human being and he, along with his father, is in servitude towards ameer and his family. emirs lack of self-confidence throughout the novel hinders his ability to have a true friendship with Hassan. Eventually amir tries to get away away from the power of the prehensiley and guilt tha t Hassan has brought into his life. An underlying cause of the problems ameer has with his friendship pertaining to Hassan is that he is jealous of Hassan.This jealousy causes him to test Hassan, and to take profit of Hassans unwavering loyalty. This is just to evoke that Hassan is lower than he is. ameer realizes this by humiliating Hassan to himself, by taking advantage of Hassans illiteracy to amuse himself, such as when he convinces Hassan that imbecile meant smart and intelligent. amir is not accomplishing anything by teasing Hassan except that he is establishing that he is smarter. ameer feels that he has to prove himself because he lacks acceptance from his father, so he teases Hassan in order to become acceptable to his father. emeer at one time a pull ahead has to prove to himself that he has the ultimate superiority by testing Hassan when he tells him to sap dirt. Hassan says that he would, which is all amir needs to expatiate his ego and confirm that he is still above Hassan. Furthermore, Amir is also jealous because his father, whom he longs for his citation, seems to favor Hassan. Hassan is athletic and Baba,Amirs father, has said that he associates himself with Hassan over Amir. Amirs jealousy arose from his avid pursuit and evident failure to strain his fathers illusive approval.Because of the lack of approval from his father, Amir finds it infallible to tear down Hassan in order to build himself up. The friendship exemplified in The Kite Runner is very weak because Amir thinks of Hassan as his servant, which explains why he is constantly testing him and does not stand up for him as a true friend would do. Hazaras are not accepted in the Afghan society that Hassan and Amir grew up in, but Amir does not refute the biased and racist culture set out in front of him. Instead, he embraces it.Even at the susceptible age of twelve, Amir is well aware of the principles of right and wrong and he chooses to do wrong. He chooses to do wrong b ecause he feels he will escape from the struggles Hassan has brought upon him. Hassan gets riled by his peers, an example of this is when Assef, the local bully, bullies him by saying, Afghanistan is the land of the Pashtuns. It unendingly has been, always will be. We are the true Afghans, the pure Afghans, not this Flat-Nose here. His people corrupt our homeland, our watan.They dirty our blood.. How can you talk to him, play with him, let him commove you? . When Hassan is harassed, Amir does postcode. Instead, he almost blurts out that Hassan is nothing but a servant when in fact he spends all of his free meter playing like true friends play. Amir wants to be accepted by his peers, peers such as Assef, Wali, and Kamal. He wants to be accepted with such a passion that he chooses to disregard his friend in order to gain approval from these boys. Amir ends up sacrificing his morals for popularity.Another example of how Amir is a coward and only wants to be accepted by his peers and his father is when he turns his back on Hassan when Hassan is raped. Hassan gets raped by Assef while trying to complete the task of kite running for Amir. Amir witnesses this horrible act and does nothing to stop it. He does not step in to help his friend because he believes that Hassan is sacrificing himself for him. This is a completely selfish thought on Amirs part because no one should have to bear another(prenominal) persons burden, point if one person is another persons servant.The extract made by Amir to sacrifice his morals and rationalize his decisions eer haunts him and makes it harder to escape the power of his own guilt. Amir is clearly an emotionally unstable person, but his resentment towards Hassan is deepened because of his own guilt. Amir feels extreme guilt by and by he watches his friend get raped in an alley. After witnessing this he feels that he can no longer be in the selfsame(prenominal) room as Hassan. Id hear Hassan shuffling roughly the kitchen in the morning, hear the clinking of silverware, the whistle of the teapot.Id clasp to hear the door shut and only then I would crack down to eat is an example of how he tries to avoid him. This shows that Amir cannot nervus his guilt. he knows that he has done something wrong but refuses to confront it and salve himself and his friendship with Hassan. Amir realizes that he has done a grave abase to Hassan. He believed that he was a monster that caused Hassan so much trouble. Amir comes to terms with the fact that he is a selfish, immature person, yet alternatively of accepting that fact and trying to get Hassans forgiveness, he once again betrays his friendship.Because Hassan is a reflection of Amirs guilt, Amir believes in an elementary manner that if he rids himself of what to him is the symbol of his guilt, he will also be freed of the guilt. This is why he frames Hassan of thievery. This plan to accuse Hassan of thievery in the end backfires and causes Amir even more per sonal anguish. Hassan then left and even though Amir felt his absence would free him from the guilt and jealousy, he ends up even more full of guilt.Amir thinks of Hassan as little worthy human being even though he is jealous of him, this mix of jealousy and resentment leads to a guilt that Amir handles unethically. Amir make outs Hassan much like a dog. He believes that he can treat him as roughly as possible, but the animal will be forever loyal. Amir does not believe that he needs to halt Hassan, since Hassan is ultimately there to sacrifice himself for Amir. Amir is jealous of Hassan because of Hassans approval earned by Baba, and this causes Amir to search for other ways to expand his ego.Amir resents Hassan because of the guilt that Amir has caused himself. The choices made by Amir and Hassan define who they were and who they would become. Amir allows his original thoughts about Hassan, thoughts of loyalty and true friendship, to be sully because he is weak. Although Amir and Hassan carved their names into a tree, Amirs character hinders their ability to be best friends and their bond is a utmost cry from even an equal friendship. While trying to escape the grasps of jealousy and guilt, Amir ultimately falls deeper in the hole he take himself.

Hugo Boss Case Study

Options 4/3/2012 Option you have the choice to buy something for a legitimate outlay but if the price is less than that price forget roughly the turn off. The most you ever pay is the contract price. You have the possibility of doing better. zippo to lose yet gain since you locked in a certain price giveer of contract can only do worse. The soul whom makes the contract charges a price to enter into the contract, the seller keeps this contract. This price is called the premium, plectrums start life story with a value, it is an impure derivative.The underlying is instrument is what the contract is about person whom buys the contract Is cognise as the option buyer/investor, seller is cognize as the option writer/issuer, what you pay if you exercise the contract is known as the strike price or exercise price. Options have discharge days after that we can non use them any more(prenominal), another parameter is the type of option that it is Six parameters Underwriting asset, parties involved, strike price/exercise price, firing date, type of option.The premium fluctuates with demand, the contract could be sold cardinal SBUX 1,000 fall down Price 60 a share 1 Month event Call Premium 8 If you do not exercise the option it is allowed to expire Options come in types, Styles, and classes Put option right to sell at a certain price Put option Underlying sbx, 1000 shares, spot price 55 Strike price 50 Time 1 Month Premium in a puke option you pay for the buy to sellOptions come in three styles European Style You can exercise on a certain date, only at expiration American Style You can exercise at any time, makes premium from an American option more but not by much only worth a lot more when dividends high dividends and low interest rates are present Bermuda Options particularized dates when you can exercise them Pay off diagram 50 55 60 (exercise price) Starbucks pricePayoff 300 400 500 60 0 7010 8020 10040

Melville’s “Bartleby the Scrivener” Essay

In Melvilles Bartleby the scrivener, Melville displays the vitality of a person, named Bartelby, who does almost cipher with his life except write. Even last mentioned in the apologue, Bartelby gives up paper and on life itself. Melvilles story brings up two major themes, which include committal to writing and bigdom. The story revolves about scriveners whose job it is to constantly simulate documents and in a sense sustain a slave to writing. Bartelby, though one of the scriveners, resists the command to do merely what he is told and as the story unfolds, he consistently refused to do what he was told.This defiance leads the lecturer to question whether Bartelby was protecting his immunity or altogether if setting himself up for an early demise. Barthe includes in his es swear The Death of the root that the antecedent has no control over how his pass water is interpreted and the lector essential decide what the toy truly means. Authors are only throttle to b eing writes when they are in the midst of writing scarcely once they have finished their work and are not writing hence the Authors are no longer writers. Freedom is constantly emphasized throughout Melvilles story because Bartelby chooses to vary writing do to the fact that he is not being a true beginning except only a scriptor.Most of Bartelby and the Scrivener centers on writing and how it is unavoidable in the honor practice. Scriveners are law copyists which means their job is to copy law documents for the lawyer to have. At trustworthy, Bartelby was a dedicated worker who never halt copy throughout the day. He did not level off take the clock to take a lunch break but drop oute a had snacks de gored to him. still as the story continues, Bartelby deteriorates as a worker by first refusing to look over copied documents and then fin tout ensembley giving up writing all together. Writing, in this story, seems to be a chore and does not look at the person to be an individual in either way. The scriveners had to tediously copy documents, which explain why the scriveners were not exactly the best-qualified workers. Turkey couldnt work in the afternoon and Nippers couldnt work in the morning. In any other job that requires serious thought, these two would be fired collect to their inability to work all day. According to Barthe, these scriveners are not authors but only scriptors because they mimic the writing and fag outt create something original.Bartelby could no longer do this seemingly unimportant writing and finally ripe stopped writing at all. The only snip Bartelby was considered a scriptor was tour he was currently copying the documents because the modern scriptor is born simultaneously with the text, is in no way equipped with a being preceding or exceeding the writing (Barthe 145). To be a scriptor, the person must be constantly writing which explains why at the beginning of the story Bartelby never leaves his room but works t hroughout the day. Bartelby did this because he believed that the only age his life was worth something was when he had the title of a scriptor. Over time though having this title stopped meaning something to him and he eventually quit writing. When Bartelby lost his title of a scriptor, he lost his will to live and that is why when he was in jail he refused to eat.Freedom is an exceedingly complicated theme in Bartelby and the Scrivener because it is unclear who exactly is free. The scriveners are all slaves to writing because they must spend their time copying documents and dont really do anything else that would lead another person to say the scriveners are living productive lives. But from each one scrivener exercises a bit of his or her own type of exemption. Turkey works rise in the morning but as the day goes on, he tends to fake more and more mistakes.The lawyer tries decides to only have Turkey work in the morning but Turkey refuses that request. This refusal shows tha t Turkey has a trusted free will and doesnt just spend his time senselessly copying documents and doing exactly what the lawyer tells him to do. The such(prenominal) younger Nippers has the opposite business that Turkey has and he cannot work well in the morning because Nippers unavoidably time to get adjusted for work. At first, Bartelby looks to be the least free scrivener at work because he would work nonstop throughout the day without even taking a lunch break but as the story progressed the commentator would see that this is untrue.Bartelby on several do refuses to do work for the lawyer and eventually stops writing all together. The lawyer is very curious with Bartelbys response and actually seems to esteem his unyielding response to looking over copies. His steadiness, his independence from all dissipation, his continuous industryhis great stillness, his unalter- ableness of demeanor under all circumstances, made him a valuable acquisition (Melville 19). Bartelbys de cision to quit writing demonstrates his craving to become free from the tediousness of writing. Bartelby, however, cannot handle this freedom being captive by writing for so long. He needs to make choices with his freedom and he really didnt know what to do with his life. This is why he stayed in the office until he was thrown in jail and then died of starvation because he refused to eat. Bartelby couldnt decide what to do with his life without writing and it led to his death. The lesson learned about freedom from this story is that complete freedom means complete loneliness and helplessness.Barthes Death of the Author combines writing and freedom together in fix to express how certain writings should be interpreted. Barthes explains to his subscribers that a text is not a line of words cathartic a single Theological meaning but a multi-dimensional quadruplet in which variety of writings, none of them original, blend and clash (Barthes 146). This quote iterates that the author does not come up with a work that is truly original but takes aspects of divergent works to create his own. Barthes emphasizes that the author should not ingrain his own opinions in his work but rather allow the ratifier to have the freedom to come up with his own interpretation.This is where freedom intertwines with writing. The author must give up control of his work and allow the reader to take authority and decide what exactly is meant be the work. But also, the authors duty is to touch on how much is actually expressed in the text. To give a text an Author is to impose a limit on that text, to furnish it with a final signified, to close the writing (Barthes 147). The readers must separate a literary work from the author in order to free the writing from being read only as the authors opinion. Every work of writing contains multiple interpretations.Barthes compares text to textiles by explaining that anything is to be disentangled, nothing deciphered the structure can be f ollowed, exercise (like the thread of a stocking) at every point and at every level, but there is nothing beneath (Barthes 147). This quote explains that much of writing read through thoroughly but conclusions dont necessary need to be drawn. Reading a work is much different than figuring out a puzzle. To truly grasp writing, a reader must capture the actual literature and realize exactly what each word in the writing is trying to express. The meaning of the work is derived from the ideas of the reader, rather than the thoughts of the writer. The reader has the freedom to capture whatever meaning he desires from a work of writing.Barthes explains that the author cannot put his own opinions into his own work because the reader must come up with his own interpretation of the work. Melvilles Bartelby and the Scrivener emphasizes this concept by showing the role of a scrivener, who only copies documents and puts nothing of himself into it. Bartelby feels like his life has been wasted j ust copying documents and finally decides to quit writing. Once Bartelby loses his will to write, he completely loses his will to do anything of importance, even eat. Writing must be entangled like threads of a cloth, and the author must place a limit on how much can be inferred from the text. Bartelby is not an author but only a scriptor because he is not performing art by copying effectual documents. This explains why Bartelby believes his life is useless because he wasted it away copying documents.Works CitedBarthes, Melville. Death of an Author. 1977.Melville, Herman. Bartelby the Scrivener. 1870.