Tesla Motors and the use of IT technology in their business for Research Paper

Tesla Motors and the use of IT technology in their business for customer convenience - Research Paper Example Tesla also uses innovative distribution models i.e. company owned service centers and sales. This technology utilized by Tesla enables it to maintain high levels of customer experience and also improved from customer feedback loops so as to ensure the needs of its customers are fulfilled. This therefore provides the company with a competitive advantage over other traditional vehicle manufacturers. In wherever industry, an affective customer service and convenience is key for success. This is important since it helps companies retain its current customer and also attract more customers. Therefore, the key to improved customer experience and service is the use of intelligent systems. These systems offer a two – way method of exchanging information between the customers and the companies so as to complete the feedback loop. The idea behind integration of intelligent systems is to provide an enabling competitive advantage over competitors through full engagement of customers hence a high level customer service that ensure future loyalty. To accomplish this, Tesla Motors, Inc. has leverage embedded devices which are connected to intelligent systems which allows the company to differentiate their offerings, attract and retain customers. Tesla Motors, Inc. operates retail outlets and service centers across North America. Intelligent hardware and software are used in these retail outlets and service centers to provide a customized digital signage that is based on knowledge of the preferences of the customer hence provide the customer with suggestions based on their past purchases, service received and test-drives taken. These intelligent systems look up for a customer’s shopping patterns, their preferences, past service interactions, their recent purchases and orders made in a backend Customer Relationship Management (CRM) system. This CRM systems

Know “Joe” Essay Example for Free

Know â€Å"Joe† Essay During the 2008 General Presidential election, candidates John McCain and Barack Obama used media technology to create compelling stories that would hopefully shift public opinion in their favor, especially among undecided voters. With this essay, I will be analyzing one of the more controversial stories that had been flung to the forefront of the election with the release of John McCain’s I am Joe the Plumber advertisement (Kurtz). I will first show how the GOP campaign used the actual Joe Wurzelbacher, the Ohio plumber constantly mentioned by the Republican nominee as the average American middle-class citizen, in this advertisement as a popular symbol in order to try to convince voters that the McCain/Palin ticket identified with the concerns of the average middle-class voter. In contrast to the populist rhetoric of the ad, I argue that this strategy in the end failed due to a shallow and false claim that Senator Obama was in support of a socialist tax agenda that would raise taxes on middle-class incomes under $250,000 (Bumiller). The Joe the Plumber ad begins with an out of context clip of Mr. Obama saying â€Å"I think when you spread the wealth around its good for everybody. † This quote came from a campaign stop in Ohio and is the basis for the entire ‘Joe the Plumber’ phenomenon that changed the way the American public imagined an average citizen. Mr. Wurzelbacher asked Mr. Obama if he would raise taxes on people in his income bracket and this was the off-the-cuff response Mr. Obama gave. The moment was caught on camera and the McCain campaign and tried to paint Mr. Obama as a socialist in their never ending strategy of trying to make Mr. Obama appear like he is out of touch with the current state of politics. Immediately after the opening clip, the camera cuts to a succession of three close-up shots of middle-aged white women saying directly into the camera, â€Å"I am ‘Joe the Plumber’. † Next, a female narrator rhetorically asks, â€Å"Spread the wealth? † as the words themselves dissolve into the group of frowning people on screen. Next, a combined sentence of two men ensues asking, â€Å"I’m supposed to work harder just to pay more taxes? † Then, a skeptical man rhetorically asks, â€Å"Obama wants my sweat to pay for his trillion dollars in new spending? † followed by another woman stating, â€Å"I am Joe the Plumber. † At this point the narrator comes back and says, â€Å"Barack Obama: Higher taxes, more spending, not ready. † These words are bold and flash on-screen shown against a smirking picture of Obama. Of course, the commercial ends with a smiling picture of John McCain with his voiceover, â€Å"I am John McCain, and I approve this message. † It is interesting to note that this campaign had largely been fought through the media. According to a study by the Campaign Media Analysis Group, John McCain’s campaign spent close to $120 million on broadcasting television ads (Election). This figure is hard to believe and it forces the audience to think critically about how much importance the swaying of public opinion has played in this election. With this much campaign money being spent on image creation, it is obvious that every nuance to every advertisement is purposeful in its intention and message. With this in mind, I will describe how the ad changed the way I approached mediated politics. Initially, the ad made me identify with the claims presented, after all, who really wants to pay higher taxes in the middle of the worst economic crisis since the Great Depression? The people making these statements in the commercial appear to be average enough: they aren’t shown wearing expensive clothing or fancy jewelry, they talk directly into the camera, and they avoid hyperbole and demonstrate a genuine concern about these issues. Unfortunately for the McCain campaign these claims fall by the wayside upon closer inspection and research. As it turns out, the ‘real’ Samuel Joe Wurzelbacher â€Å"owed back taxes, did not have a plumbing license (he told the Associated Press he doesnt need one because he works for someone elses company), and may not have been registered to vote. † In addition, he has since admitted that under Obama’s proposed plan, he would receive a tax break because he only makes $40,000 a year; not the $250,000 he originally claimed as a small business owner (Chipman). The ‘trillion dollars in new spending’ that the ad claimed also turned out to be based on false information. The non-partisan Committee for a Responsible Federal Budget calculated that Obama promised a total of $990 billion in new spending over his first four-year term but his proposed spending cuts come to around $989 billion. This means that the net actually balances out (Dobbs). With all these false claims and the millions upon millions of dollars spent, I ultimately felt annoyed and cheated by this advertisement and the overall strategy employed by the Republican ticket. If the McCain campaign was going to continue to resort to attack ads based on false information then what would lead us, the average American public that they so repeatedly claim to identify with, to believe that they would tell the truth about important issues if they would have won the election? Another problem I have, not only with this particular ad, but with the Republican advertising campaign in general is the haste with which they adopt these media symbols without doing very much background checking on them prior to using then them for their own agenda. ‘Joe the Plumber’ is the key example here, but an even more troubling example may be McCain’s choice of Sarah Palin as a running mate. Both ‘Joe’ and Mrs. Palin greatly motivated and energized the Republican side in the short term, but as time progressed and the media and public had the chance to learn more about these campaign catalyst symbols, they eventually turned out to counter-balance the initial jolt they provided. For instance, the media picked up on the story that Governor Palin spent over $150,000 dollars on her campaign wardrobe at extravagant retailers like Saks 5th Avenue (Bumiller). This image directly contradicts the ‘average hockey mom’ mythical portrait that the GOP had fought so hard to perpetuate in order to capture middle-class citizens, especially females. Repeatedly, the Republican campaign of John McCain and Sarah Palin resorted to negative attack ads based on faulty, if not completely false, premises. The ‘Joe the Plumber’ ad continued this troubling trend. In fact, it may be the iconic example that eventually turned the tide against the Republican nominee, especially after considering that the media outted the ‘real’ Samuel Joe Wurzelbacher as a fraud and liar willing to bend his story to fit an ideological narrative. Despite this advertisement’s shaded attack against Barack Obama, in my opinion it actually did more harm to the Republican ticket due to the lack of honesty and the propagandist appeals to an imaginary middle-class whose interests are being manipulated and distorted through the media in order to sway public opinion to gain voter support. Works Cited Bumiller, Elisabeth, Jeff Zeleny. â€Å"McCain and Obama Hurl Broadsides at Each Other Over Taxes and Jobs†. The New York Times. 25 Oct. 2008. http://www. nytimes. com/2008/10/24/us/politics/24campaign. html? ref=politics. Chipman, Kim, Hans Nichols. â€Å"Obama, McCain Pit Plumbers vs Hedge-Fund Managers in Tax Debate. † Bloomberg Press. 23 Oct. 2008. http://www. bloomberg. com/apps/news? pid=20601087sid. Dobbs, Michael. â€Å"Obama’s ‘Trillion Dollar’ Spending Plan†. The Washington Post. 1 Oct. 2008. http://voices. washingtonpost. com/fact-checker/2008/10/obamas. â€Å"Election 2008. † The New York Times. 2 Nov. 2008. http://elections. nytimes. com/2008/president/advertising/index. html Kurtz, Howard. â€Å"McCain Ad: We Are All ‘Joe the Plumber’†. The Washington Post. 22 Oct. 2008. http://voices. washingtonpost. com/the-trail/2008/10/22/mccain.

Analysis Of The Gattaca Film Film Studies Essay

Analysis Of The Gattaca Film Film Studies Essay The film Gattaca explores the possibilities of future technology development, and the way in which these advances would affect society. For example, would a society composed of two distinct social classes, and the inequality between them really be an advance? Those who are not genetically manipulated to so -called perfection in a lab, but naturally conceived, are given the name in-valid god children or de-gene-erates , and are treated as second class. Natural conception in the not too distant future is rejected in the society of Gattaca, with genetic manipulation seen as what has become the natural way. Due to the discrimination of in-valids, what would present days multiculturalism and racial diversity be in a time such as that of Gattaca? Would the importance of individuality or personal identity be discarded? As Vincent tells the viewer: Today we have discrimination down to a science. Gattacas plot and character portrayal asks the viewer this, showing us that unique genetic makeup wouldnt matter- infact, personal qualities would be scrutinised, pushed aside and unwanted. It is clear that director Andrew Niccol aims to inform the viewer of this through such examples as Irenes heart defect which doesnt allow her to pursue her dream, even though she is a valid. Another example is Vincents only way to be accepted into society is to lie and assume a valids identity. Technology enables Vincent to do so, but infact it is technology that first leads to Vincents rejection from his surrounding world, as he was naturally conceived, and therefore is constant suffering under the burden to somehow be equally accepted. I believe Niccols message to the viewer is that in order to truly benefit from the power to change the environment, such as advances in technology giving us the ability to genetically manipulate, we first have to consider both the advantages and disadvantages of our actions to fully understand them. For instance, we must ask ourselves should equality, ambition and individuality be traded for catergorisation in an institutional system with distinction. As actor Jude Law, who plays Jerome, says: Andrew creates this manicured world in which human feelings are trying to burst out, in which the quest to make a better society has destroyed individuality. So if we were to live in a future such as that of Gattaca, wouldnt we lose more than we would gain? Explain the meaning of the quotes in the pre-exposition sequence. Which of these quotes is best supported by the film text? Consider Gods handiwork: who can straighten what he hath made crooked? Ecclesiastes 7:11 I feel this quote is the moral to be learnt within the films plot, as it asks the viewer why fix what isnt broken? In the society of Gattaca, wealth determines fate; what parents can afford decides how perfect their child will be. This raises the issue of in-valids separation from valids (and the whole surrounding society), and the suffocation of in-valids desires. This can be referred to with Vincent, as his longing to journey to space. The social hierarchy and racial differences in Gattaca therefore leave in-valids ultimately no reason to live. For instance, Vincent didnt have high expectations set on him by his parents as he was an in-valid, but still managed to pursue his dreams- only by following societys mould (appearing as a valid). This quote represents the idea that imperfections should be appreciated rather than dismissed, and that nature, despite its flaws is preferable to a genetically engineered existence due to its consequences. The viewer is shown that the importance o f individualism in nature is too valuable and complex to be overridden by genetics. I therefore feel that this quote more strongly supports the films plot and character portrayal. I not only think that we will tamper with Mother Nature. I think Mother wants us to. William Gaylin This quote, contradicting the previous, represents the opposing opinion that perhaps God himself is not perfect, as He created a flawed world, and that having the ability to change it means we should change it. The need to perfect Mother Nature is a temptation, which increases whilst technology continues to make this ability even more obtainable. By showing the viewer what the future may bring, Niccol is hinting that society is being constantly challenged whether to interfere with what has been provided for us even today, and that these early signs may lead to such manipulating in Gattaca along with its consequences. Surely we should take advantage of technological advances, but will correcting Gods mistakes really result in a more beneficial outcome? This quote is representing what is presented to the viewer directly through the films plot and character portrayal, asking the advantages of humans adopting a God-like power to be considered. But due to the blurred line between health a nd enhancement that Niccol informs us of, a constant need to perfect will always be present. So should we eliminate Gods mistakes if we are able to? Would grasping an opportunity in reach seem logical? This quote suggests the approach: Sure. Why not? Question 3: How have the film makers established the difference between the natural born Vincent and the genetically selected Anton in the sequence that shows them as children? (E.g. camera shots and angles, lighting and symbolism) To convey the difference between Vincent and his brother Anton, certain lighting and camera angles are used. For instance, Vincent is conceived at the sea at sunset; in a natural setting expressing calmness. The waves gently lap the shore, also indicating calmness and serenity, and this Vincent will be a product of nature rather than a lab. The close-up of rosary beads and a Christian cross indicate that that a God-child will be born to this couple, and that natural and religious beliefs have influenced Vincents conception. The fading light represents the beginning of a new day, but the viewer is given the impressions that Vincents birth will bring turmoil to his parents. By the doctors and Vincents parents expressions after Vincent is born, the beginning of Vincents rejection from society is immediately shown. This instant elimination from birth is emphasised when the viewer is told of Vincents life expectancy, a short 30.2 years, and his father reacts to this. Other negative data s uch as Vincents heart defect and ADHD probability is determined without delay to establish if Vincent is worthy of any acceptance. By only informing the viewer of Vincents probable deficiencies, and not the benefits, this again adds to Vincent appearing incapable and excluded ever since the moment he was born. The hospital scene uses the same low, hazy lighting as that of Vincents conception. This is not an expected light in a surgical environment, as it is gloomy, with the only light coming from the windows. This same washed out sepia tone is seen when Vincent, as a toddler, falls and his mother over-anxiously runs to him. In this scene, we are again shown Vincents incapability, appearing weak and dependent. This lighting used also portrays the characters emotions; for example, low, gloomy light indicates uncertainty and doubt when Vincent is born. The closing of the iron-bar gate at the preschool where Vincent is denied admission indicates not only Vincents rejections, but also th e rejection his parents suffer, as they are made to feel ashamed to have brought such a burden into a perfect world. The bars represent exclusion; being locked in or locked out, and Vincent and his parents are definitely being almost banned like a contagious disease from which separation is necessary. The low gloomy light throughout Vincents childhood is used to express that these are not bright, happy memories, but a different recollection. This same light is again used when Vincents parents visit the geneticist. In this scene, one specific recurring motif is referred to. This is the helix, which can be seen extensively in the structure of staircases and also the toy that Vincent is playing with. Perhaps the playing with of this toy represents the question should genetics be toyed with, and if so, should it be treated like childs play? The use of the helix motif within the staircase at the geneticists perhaps represents Gattacas society rising to new heights and understandings of s uch things as technology and genetic manipulation. When we are first introduced to Anton, a noticeable change in lighting is evident. When his father is measuring his height, Anton is bathed in a golden, glowing light; almost heavenly, as he is worthy of praise and his fathers name, whereas Vincent was not. The sets colour is richer and the positioning of the characters in the scene indicates that Vincent is left behind, and that his parents and Anton have formed their own family unit that doesnt involve Vincent. Infact, he has been pushed aside in his impurity. The viewer is shown by the measurements of the brothers that at age eight, Anton is taller, better looking and has a broader figure than Vincent, who at age ten is smaller, skinner and wears glasses. Through this comparison, we are shown which brother is stronger and ultimately, which is better. When Vincent erases is own name from beneath his brothers it is clear that Vincent is feeling the impact of this constant judgment. The fact that Vincents parent chose to have another son adds to the competitiveness of this comparison. For example, strengths and weaknesses wouldnt have been so obvious if Vincent was to have a sister. The family unit excluding Vincent that has been formed can again be referred to when Vincent is shown sitting apart from Anton and his parents eating breakfast. The viewer is shown Vincent feeding himself intellectually with a book, whereas Anton just eats; he has no excuse to fail, therefore not needing this source. The first game of chicken, when Vincent and Anton are children, we see Anton refusing to be Vincents blood brother, as he fears contamination by inferior blood. Whilst the boys swim, an aerial shot is used, showing Anton being more physically capable than his brother, strongly swimming ahead. A high camera angle is then used to show a defeated, helpless Vincent suffering in his difficulty. Genetics superiority is portrayed, and the viewer is shown Vincent in a defenceless position, again appearing the weaker. Also, when Vincent lays out his model solar system, Anton snatches Pluto (an apple), low camera angles are used when Anton is shown, giving a sense of superiority, in contrast to the high camera angles looking down on Vincent, giving the impression that that he is the impure; the son who wasnt worthy of thus fathers name. Question 4: Consider the implications of the names of the main characters: Vincent Freeman and Jerome Morrow. Vincent Freeman, being an in-valid, is not as his name implies. The name Vincent, meaning victorious and to conquer, could be an oxymoron, as is Vincents surname. Freeman, meaning one not to be forbidden by law; in other words, free to do as he pleases, is not how Vincent is seen as through societys discriminative eyes. Vincent cannot turn his dream into a reality without changing the way in which he is observed by surrounding valids (assuming the identity of a valid). Therefore he is not victorious or conquering in the beginning, but by the end of the film, he does manage to journey to Titan despite being discovered a broken ladder. So, perhaps the name Vincent Freeman is an indication of the characters journey throughout the films plot; Vincent tells us: it all began when he first saved Antons whilst playing chicken. This is the moment when Vincent discovers he has the strength and determination to excel in his hostile world, and the instant he realises that his goal is possible to be achieved, he doesnt once look back. In the end, it seems this name may well be suitable for Vincent, having the ability to fulfil his desire of journeying to space, conquering and breaking free of restraint set upon him (his family, for instance) and victoriously overruling genetic superiority with the power of the natural human spirit. For what its worth, Im here to tell you that it is possible, Vincent tells Irene. Vincent journey of aspiring and determination shows the viewer this. Jerome Morrow: The name Jerome, meaning holy, indicates Jerome as being the desires result; a valid. The meaning of Morrow is sea warrior. This relates to Jeromes swimming past and him winning silver instead of gold. The meaning sea warrior, no longer appropriate as he no longer has the physical ability to swim, could be a taunt towards Jerome, indicating that he is drowning in a sea of defeat and self-pity due to not meeting his genetic profile by coming second. Also, the fact that his suicide plan didnt go to plan indicates his failure to win. Perhaps Morrow may be an intentional rhyme with sorrow; as Vincent tells: He (Jerome) had everything except desire. Alternatively, Jeromes surname may also be related to the question do we really want tomorrow to become what we see in Gattaca? with genetics ruling over human spirit and individuality. This is perhaps a slight warning to the viewer: would this be a new hope or burden? Jerome has no intention of seeing tomorrow. Infact he has wanted to, and tried to, escape from tomorrow every since he was second best. Jerome realises that having helped Vincent pursue his goal, he no longer needed to exist in tomorrow, and decided to leave on a high note taking his failures with him, rather than falling back down into his sea to drown in sorrow. Later, Jerome asks Vincent to call him Eugene. This is extremely close to the word eugenics, which is the study and practice of selective breeding applied to humans. Also, the meaning of the name Eugene is well born, noble, which is exactly what Jerome is. Vincent tells Jerome: Jerome Morrow. Its a nice name. To which Jerome replies: Its my name. But I cant be you without it, Vincent says. So even though Jerome is giving away his first name (meaning holy) to Vincent, he still owns a sense of superiority by using the name Eugene. This allows him to still feel he has an identity, although most of it was given to Vincent. Question 5: What is the significance of being an in-valid? Imagine a society in which there were two distinct groups: valids and in-valids. Suppose you were born an in-valid; you were a victim of discrimination, or genoism. How would you truly feel? We can see that the in-valids are assigned the menial jobs- the jobs they cannot escape from due to their imperfections at birth. No matter how hard Vincent tried and longed to be accepted for his difference, being an in-valid would never allow him to be. Fate was never on Vincents side right from the start, as the constant comparison between him and Anton was the underlying discrimination that was the foundation of Vincents segregation from society. For instance, Vincent tells us: Today we have discrimination down to a science. Also, both Vincent and Irene had heart conditions, although Irene was a valid and Vincent an in-valid. Perhaps Irenes validness is an indication that genetics perfect creations dont always guarantee ideal results. The definition of in-valid, weak and sickly; one who is in capacitated by a chronic illness or disability, is strongly related to Vincents incapability to live up to the desired result: a flawless being who fits comfortably inside the mould created for them ever since their new natural conception. The definition of valid is producing the desired result, having legal force, legitimate; all of these things Vincent cannot aspire to as he simply forbidden to even try. For instance Anton tells him: I have a right to be here, you dont. To which Vincent later replies: Do you have any idea what it took to get in here? This is an indication of Vincent achievement of entering Gattaca, but there are still further stars to reach for (journeying to space). Think about the word in-valid. Why the hyphen? The hyphen turns invalid (an adjective) into in-valid (a noun). But maybe the use of the hyphen is deeper than that. Perhaps this is another indication of the isolation of in-valids. The hyphen separates the two; those apparently pure and impure. Question 6: Discuss the frequent references to swimming in the text; in what ways have the film makers given this significance? Swimming is a recurring motif in Gattaca and significant indications of this can be referred to several times throughout the film. The first time is when Vincent and Anton playing chicken, and when Anton wins, the impression is given that his determination to be the superior brother is already present. This is implying genetic superiority mainly on a physically level. The second game of chicken was when it all began; Vincent is shown as a product of a natural world, thriving in the few aspects of natural world that still exists in an artificial world. Thus this is why Vincent finds his inner strength in the ocean, something too large to be manipulated by mankinds ignorance. Also in the second game, clearer water symbolises fewer obstacles for Vincent in achieving his goal. Although we are asked to consider the survival of the fittest idea, by Vincent saving Anton, the survival of the mentally fittest is suggested. Through the games of chicken we are shown that swimming is still a familiar physical activity in the future, despite technological advances, genetic manipulation and social hierarchy that may occur. The recurring swimming theme is also an indication of a source of equality between valids and in-valids, as swimming is something that surprisingly doesnt require the correct genetic makeup or physical ability (well, perhaps it does in Jeromes case).The viewer is told that adaption is necessary in order to survive- this is referring to the unpredictability of evolution, and again the survival of the fittest is referred to. Next we discover Jerome was a champion swimmer, as he had the ideal genetic profile, but becoming paralysed meant he was no longer physically capable. When we see Jerome climbing the stairs, we could say it was almost a swimming action, with the use of his arms pulling him forward. As swimming gets one from A to B, maybe a journey is to be acknowledged. This may be Vincent realising the power of his determination and inner strength. We first see this when he rescues Anton in the first game of chicken; Vincent has the capability to win despite his in-validity. When Anton, as an adult, is shown swimming in a tank alone, the viewer is given the impressions he is racing against himself, trying the make up for his earlier losses to Vincent. Perhaps he is trying to erase the fact that an in-valid somehow was able to defy his genetic perfection- twice. In his tank, Anton is going nowhere. Here the viewer is again being shown that once a genetically manipulated human, a valid, reaches their full potential, they neither feel the need to reach higher, pushing themselves to mentally be the best, or have the ability to. On the other hand, we could argue that Antons case is different, as he believes he is the stronger brother, and that if he continues to push himself he can be better still. Another example of this is when we see Vincent intellectually feeding himself at breakfast, whereas Anton was eating food. Finally, with Vincent winning again the third game of chicken, this delivers the films main theme, telling that human spirit along with the creative chaos of individuality will overrule genetic superiority and a perfect society no matter what. Question 7: What is the significance of the recurring ocean motif in the text; in what ways have the film makers given this significance? The ocean motif in Gattaca represents the one thing that remains natural, as its vastness, power and unpredictability make it impossible to be influenced by the genetic and scientific manipulation of this artificial world. We are first given reference to the ocean at the time of Vincents conception, and this is the first connection between Vincent and nature that is represented. Also, as water can represent uncertainty perhaps this is a suggestion of the unpredictability of Vincents birth, as his parents left fate to deal him an unpredictable genetic profile. Next, the ocean is involved in Vincent and Antons first game of chicken. In this scene we are shown not only the strength of the characters, but also of the ocean. In the second game of chicken we see the oceans ability to cause danger, even leading to death. Also, Anton beneath the surface of the water perhaps indicates deeper meanings; entering the next layer of understanding. For example, after Anton is rescued by Vincent, this is when Vincent realises that although he may be an in-valid in a sea of valids, he has the determination to keep afloat and succeed in his natural setting. The love scene between Vincent and Irene also involves the ocean. This could represent a new beginning of calmness and trust, as the waves in this scene are gentle and placid, unlike those of the third game of chicken in which we again are shown links between the characters emotions and the oceans chaos, manipulation of fears, brutality and ability to take lives. When we are shown Vincent scrubbing himself on the shore at Irenes, the oceans ability to cleanse and revitalise is symbolised. This could also represent the timeline of a typical day in Vincents life; the ocean washes away the struggle of the day to prepare Vincent for another day of treading water in his vicious sea of genetic manipulation and genoism, in which he feels he is slowly drowning. Question 8: Set in the not too distant future the film has a very retro look. Why is this? The retro theme consistent throughout the film is used to subtly hint that society regrets its decision of adopting a god-like power allowing the ability to genetically manipulate, and wishes to return to the past days when the natural way was natural conception and social equality. By living in a futuristic world combined with aspects of life trying to act as those true of the past, we can see that the society of Gattaca wont accept their mistakes, believing they werent made to begin with. Genetic manipulation hasnt resulted in the outcome they expected, and they are now clinging to all that is left of the untouched past. Infact, society didnt really have an expectation of what genetically manipulating would bring; the disadvantages obviously werent considered, because if they had been, the segregation between valids and in-valids wouldnt have been so strong. Through this, the film makers are portraying the message that if we were to tamper with genetics, assuming superiority over t he environment, we would most likely regret it. The definition of retro is reminiscent of things past; not old but harking back. This relates to the society of Gattaca imitating fashions of the past whilst simultaneously incorporating modern twist. We can see this through such fashions, for instance the circa 1950s dresses worn at the piano recital, Irenes hairstyle while she is with Vincent at the nightclub and the cars of the time, especially Irenes. These imitations indicate future societys wistful longing for something (this being returning to the past) but not being able to as the line has been crossed and changes already occurred; perfection now divides humanity- if we can still call it humanity, that is. The retro look maybe also be used to allow the viewer to relate to the feelings of the characters and films plot, indicating that aspects of a Gattaca future are already present in our everyday lives today, and that if society isnt careful a similar future is perhaps as not as far away as we expect. Hence the used not-too-distant-future phrase. We must also not forget that this film was filmed in the early 1990s, and that the fashion influences of this era may have affected the films set and props. Question 9: Vincent challenges the dominant ideology of the time whereas Irene accepts it. Give evidence to support this statement. There is a clear difference in the way the characters of Vincent and Irene are portrayed. For example, Vincent tells us: I was never more certain how far away from my goal (of journeying to space) than when I was standing right beside it. Through this quote, Vincents determination to break free of the stereotypical mould that has been created for him and all in-valids is shown. A subtle hint that he rebels against societys control and manipulation is that he has lived past his life expectancy of 30.2 years. We can see that Vincent constantly questions the orderliness and precision of the world of Gattaca when he asks such things as: I dont need rescuing, but you did once. Here Vincent is fighting for an answer, perhaps not from just Anton, but from society as a whole; as if saying how do you explain that? Use your technology and genetic manipulation to figure that out. Another example of Vincents longing to escape from the judgement of belonging to the contaminated world is the comme nt he makes after his janitor boss tells him not to clean the glass too well, as Vincent might get ideas. Vincent, who has had enough of being left below with his lower class by valids on ascending escalators into Gattaca, smugly replies: Youll be able to see me when Im on the other side of it. This is yet another indication of his continuous fight in this losing battle, which does pay off for Vincent in the end. Irene on the other hand accepts the genetic hand she was dealt. Director, Niccol tells us: I think of Irene as someone who would lie down at the allotted minute as she would feel guilty for a minute longer than her profile proscribed. Vincent, who has lived past his 30.2 years, obviously doesnt feel the same way as Irene, does he? Irene first seems attracted to Vincent due to his perfect genes. But she doesnt act on her feelings for him immediately, as her obedience to societys ideology means that spontaneous relationships would be out of the question; almost impossible. Irene checks Vincents (Jeromes) genetic profile as she is interested in him, and is disappointed when she finds he is 9.3, quite a catch. As her thoughts are driven by the manipulation societys ideology has over her, she immediately presumes the curiosity wouldnt be mutual; that Vincent could do better than someone with a heart defect. We should say that Irene unwillingly accepts the ideology of society. She tells Vincent; The only trip Ill take in space is around the sun on this satellite right here. This is a sign of Irenes subtle jealously that Vincent excels in what she could only dream of obtaining- true perfection. After she asks Vincent about watching every single launch and tells him that he is the only one who watches them, she says: If youre going to pretend that you dont care, dont look up. Her saying this indicates that the small things that seem trivial to valids, as they are in reach to them, seem unavailable (like a goal they will aim to achieve in time) to in-valids, as they have been excluded from such things. Irene supports and protects Vincent, even perhaps slightly undertaking a motherly role towards him. For example, she tells him to leave work and maintains the deception with Jerome when Anton investigates. Admiring his refusal to accept his genetic fate, this allows her to challenge her own f laws, especially her weak heart. Vincent tells Irene: You are the authority on what is not possible, arent you? Theyve got you looking for any flaw that after a while, thats all you see. Perhaps Vincent is referring to the flaws she sees within herself, and how she continues to allow these deficiencies to dictate her life, forcing her to abide by societys rules. He later tells her: It is possible. Yes it is, and Vincents journey and achievement is proof that it is possible. Question 10: Do the right genes guarantee success? If not, then what does? The characters journey and experiences throughout the film show that genetic manipulation wont necessary result in perfection; infact, the viewer is shown that the diversity of untouched human nature will always be preferred over an institutional, influenced society. As producer, Stacey Sher says: In this society, there is no triumph because everything is predicted from birth, so there is always a hollowness to success. This is a world in which everyone is so obsessed with living longer that they no longer know how to be truly alive. Instead of manipulated fate, it is the strength an individual intellectually holds that truly determines the future of an individual. For instance, we can compare Anton and Vincent. Anton, the favourable brother, turns out to work for the police force; not an over-successful role, just a middle class job. In other words, Anton doesnt live up to his pre-determined future as he only becomes a detective. Not to mention, he lost two out of three games of chicken, which shows that genes are not the only thing that determines fate. Vincent on the other hand manages to achieve the impossible. Surely this should be seen as successful? Vincent reaches his goal, whereas Anton never set any in the first place; this doesnt show any willpower and aggression on Antons behalf. He was supposedly the son worthy of his fathers name, but he wasnt so worthy in the end. The next valid, Jerome, also shows genetic manipulation to be unfavourable. He lacks spirit and strength of character to succeed, as Niccol tells us when he says: He (Jerome) was the very antithesis of Vincent. Vincent inspires Jerome, who overcomes suffering under the burden of perfection, with everything except desire. If a determined fate is such a miracle, why didnt Jerome come first in his swimming race? Also, it is obvious that trying to commit suicide isnt very successful. We are told that even before his accident, Jerome was lacking in the attributes that make life most worth living by Sher. So it seems that the pressure of being expected to meet such expectations in a way impacted Jeromes life heavily. Perhaps he felt that whenever he was not perfect, when he made a mistake, that his actions were scrutinised; that the manicured world he belonged to was constantly analysing him as an experiment or the closest thing to flawlessness. In-valids wouldnt suffer under this burden o f perfection. This is therefore another indication from the film makers that human nature will always triumph over eugenics. It took the satisfaction of helping Vincent achieve his dream for Jerome to realise what really mattered in both the valid and in-valid world. I think this is why Jeromes silver medal changes to gold in the end, as this is the moment he truly succeeds, realising that genetics dont rule over everything. Irene, a valid, had her own flaws too. She not only had a heart condition, but also the ability to feel the emotion of jealousy, and she had no self-motivation. A valid, like Jerome, she also needed the inspiration of Vincents aggression and strength of mind to become inspired herself. Discrimination against in-valids is only supported by the assumption that genetic manipulation perfects without a doubt. So where is the proof that pre-determined fate is truly an advantage? In contrast, there is proof that individuality can and does survive, despite all discrimination of in-validity. This proof is Vincent, his experiences of fighting in a faultless world, and the journey he goes on to accomplish his dream.

Kinds of Non-Profit Organizations :: Internal Revenue Services

Many people know about 501(c)(3) nonprofit organizations, but other types of nonprofits are not as commonly known. The IRS established several sections of the Internal Revenue Code that nonprofit organizations can qualify under. An organization desiring to apply for nonprofit status, must apply under the section that fits its purpose. Understanding the types of nonprofits available and the qualifications for each helps you choose the correct section to apply under. According the IRS, five basic classifications of nonprofit organizations exist under Section 501(c)(3)of the Internal Revenue Code. Classifications include charitable, religious, educational, scientific and literary. A nonprofit organization may fall under one or more classifications. For example, a Christian charity providing food to homeless citizens could fall under charitable and religious classifications. Nonprofits must apply for federal tax-exemption as a 501(c)(3) by completing Form 1023. 501(c)(3)nonprofits can offer tax-exempt donations to individual contributors. Nonprofit organizations formed to promote social and community welfare can apply for federal tax-exemption under Section 501(c)(4) of the Internal Revenue Code. To qualify, organizations must provide a benefit to the general public. Organizations catering to a private group of people do not meet eligibility requirements. An example of a 501(c)(4) is an organization that provides social resources to retirees. Charitable, educational and recreational organizations that do not qualify for 501(c)(3) status can apply under this section. Unlike 501(c)(3) nonprofits, 501(c)(4) organizations can participate in lobbying activities. Organizations whose primary business with the public reflects that of a for-profit corporation cannot qualify as a 501(c)(4). Nonprofits must apply for this status by completing Form 1024. Social clubs formed for nonprofit exempt purposes can apply for federal tax-exemption under Section 501(c)(7) of the Internal Revenue Code. Form 1024 is used to apply for a 501(c)(7). To qualify under this section, nonprofits cannot discriminate against citizens based on race, color or religion. However, religious 501(c)(7) organizations can limit its membership to those belonging to a particular religion. 501(c)(7) nonprofits must receive support from memberships fees and dues. Example of nonprofits with this status include college fraternities and sororities, country clubs and homeowners associations that meet for the purpose of preserving its recreation areas and facilities.

Cognitive science Essay

Stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. [1][2] The preferred object of stylistic studies is literature, but not exclusively â€Å"high literature† but also other forms of written texts such as text from the domains of advertising, pop culture, politics or religion. [3] Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism. Other features of stylistics include the use of dialogue, including regional accents and people’s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers, etc. In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic associations are that the style of language reveals. * | Early twentieth century The analysis of literary style goes back to Classical rhetoric, but modern stylistics has its roots in Russian Formalism,[4] and the related Prague School, in the early twentieth century. In 1909, Charles Bally’s Traite de stylistique francaise had proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussure’s linguistics by itself couldn’t fully describe the language of personal expression. [5] Bally’s programme fitted well with the aims of the Prague School. [6] Building on the ideas of the Russian Formalists, the Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism. [7] According to the Prague School, the background language isn’t fixed, and the relationship between poetic and everyday language is always shifting. [8] Late twentieth century Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958. [9] Published as Linguistics and Poetics in 1960, Jakobson’s lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. [10] The poetic function was one of six general functions of language he described in the lecture. Michael Halliday is an important figure in the development of British stylistics. [11] His 1971 study Linguistic Function and Literary Style: An Inquiry into the Language of William Golding’s ‘The Inheritors’ is a key essay. [12] One of Halliday’s contributions has been the use of the term register to explain the connections between language and its context. [13] For Halliday register is distinct from dialect. Dialect refers to the habitual language of a particular user in a specific geographical or social context. Register describes the choices made by the user,[14] choices which depend on three variables: field (â€Å"what the participants†¦ are actually engaged in doing†, for instance, discussing a specific subject or topic),[15] tenor (who is taking part in the exchange) and mode (the use to which the language is being put). Fowler comments that different fields produce different language, most obviously at the level of vocabulary (Fowler. 1996, 192) The linguist David Crystal points out that Halliday’s ‘tenor’ stands as a roughly equivalent term for ‘style’, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Halliday’s third category, mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium: written, spoken, and so on, but also describes the genre of the text. (Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not simply been used before, but that predetermines the selection of textual meanings. The linguist William Downes makes the point that the principal characteristic of register, no matter how peculiar or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) Literary stylistics In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and ‘valued’ language within literature, i. e.  Ã¢â‚¬Ëœliterary stylistics’. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its ‘deviant’ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels. (Crystal. 1987, 71). Poetry As well as conventional styles of language there are the unconventional – the most obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the traditional form of the epitaph, as found on headstones in a cemetery. For example: His memory is dear today As in the hour he passed away. (Ernest C. Draper ‘Ern’. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude verbal disturbance (Widdowson, 3). Nevertheless, Widdowson recognises that they are a very real attempt to convey feelings of human loss and preserve affectionate recollections of a beloved friend or family member. However, what may be seen as poetic in this language is not so much in the formulaic phraseology but in where it appears. The verse may be given undue reverence precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words set in stone in a graveyard, poetry is unorthodox language that vibrates with inter-textual implications. (Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are noted by PM Wetherill in Literary Text: An Examination of Critical Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of others that are equally important. (Wetherill. 1974, 133) The second is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) Implicature In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude. Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or reader’s conjecture of meaning diverge remains highly subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearer’s responsibility. ’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be seen as an accompaniment to Pilkington’s poetic effects in understanding a poem’s meaning. Stylistics is a valuable if long-winded approach to criticism, and compels attention to the poem’s details. Two of the three simple exercises performed here show that the poem is deficient in structure, and needs to be radically recast. The third sheds light on its content. Introduction Stylistics applies linguistics to literature in the hope of arriving at analyses which are more broadly based, rigorous and objective. {1} The pioneers were the Prague and Russian schools, but their approaches have been appropriated and extended in recent years by radical theory. Stylistics can be evaluative (i. e.judge the literary worth on stylistic criteria), but more commonly attempts to simply analyze and describe the workings of texts which have already been selected as noteworthy on other grounds. Analyses can appear objective, detailed and technical, even requiring computer assistance, but some caution is needed. Linguistics is currently a battlefield of contending theories, with no settlement in sight. Many critics have no formal training in linguistics, or even proper reading, and are apt to build on theories (commonly those of Saussure or Jacobson) that are inappropriate and/or no longer accepted. Some of the commonest terms, e. g. deep structure, foregrounding, have little or no experimental support. {2} Linguistics has rather different objectives, moreover: to study languages in their entirety and generality, not their use in art forms. Stylistic excellence — intelligence, originality, density and variety of verbal devices — play their part in literature, but aesthetics has long recognized that other aspects are equally important: fidelity to experience, emotional shaping, significant content. Stylistics may well be popular because it regards literature as simply part of language and therefore (neglecting the aesthetic dimension) without a privileged status, which allows the literary canon to be replaced by one more politically or sociologically acceptable. {3} Why then employ stylistics at all? Because form is important in poetry, and stylistics has the largest armoury of analytical weapons. Moreover, stylistics need not be reductive and simplistic. There is no need to embrace Jacobson’s theory that poetry is characterized by the projection of the paradigmatic axis onto the syntagmatic one. {4} Nor accept Bradford’s theory of a double spiral: {5} literature has too richly varied a history to be fitted into such a straitjacket. Stylistics suggests why certain devices are effective, but does not offer recipes, any more than theories of musical harmony explains away the gifts of individual composers. Some stylistic analysis is to be found in most types of literary criticism, and differences between the traditional, New Criticism and Stylistics approaches are often matters of emphasis. Style is a term of approbation in everyday use (â€Å"that woman has style†, etc.), and may be so for traditional and New Criticism. But where the first would judge a poem by reference to typical work of the period (Jacobean, Romantic, Modernist, etc. ), or according to genre, the New Criticism would probably simply note the conventions, explain what was unclear to a modern audience, and then pass on to a detailed analysis in terms of verbal density, complexity, ambiguity, etc. To the Stylistic critic, however, style means simply how something is expressed, which can be studied in all language, aesthetic and non-aesthetic. {6} Stylistics is a  very technical subject, which hardly makes for engrossing, or indeed uncontentious, {7} reading. The treatment here is very simple: just the bare bones, with some references cited. Under various categories the poem is analyzed in a dry manner, the more salient indications noted, and some recommendations made in Conclusions. Published Examples of Stylistic Literary Criticism G. N. Leech’s A Linguistic Guide to English Poetry (1969) Laura Brown’s Alexander Pope (1985) Roy Lewis’s On Reading French Verse: A Study in Poetic Form (1982) George Wright’s Shakespeare’s Metrical Art. (1988) Richard Bradford’s A Linguistic History of English Poetry (1993) Poem The Architects But, as you’d expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting — Except that these do not know it, at least do not Seem to, being busy, generally. So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always. Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.  © C. John Holcombe 1997 Metre Though apparently iambic, with five stresses to the line, the metre shows many reversals and substitutions. Put at its simplest, with: / representing a strong stress representing a weak stress x representing no stress, and trying to fit lines into a pentameters, we have -| /| x| x| x| /| -| | x| /| x| | But| as| you’d| ex| pect| | they| are| ve| ry| x| /| x| x| /| x| /| x| | x| x| Im| pat| ient| the| build| ings,| hav| ing| much| in| them| x| x| | x| /| x| x| | /| /| x x| Of| the| heav| y| surf| of| the| North| Sea,| flurr| ying| x| /| -| /| x| x| /| x| /| x| | The| grit,| | lift| ing| the| pebbl| es,| fling| ing| them| | x| /| -| /| x| | x| /| x| | With| a| hoarse| | roar| a| gainst| the| agg| re| gate| x| | x| /| | x| /| /| x| x| /| They| are| com| posed| of,| the| cliffs| high| er| of| course| | /| x| | -| /| x| / | x| | | More| burd| en| some,| | un| der| writ| ten| as| | x| /| x| /| -| /| -| /| x| /| | It| were| with| past| | days| | o| ver| cast| | x| /| x| | /| x| | -| /| x| x| And | glit| ter| ing,| ob| du| rate,| | part| of| the| -| /| x x x| /| -| /| -| /| x x| /| x x| | Sil| icate of| tough| | lives| | dist| ant and| in| tricate| -| | x| /| x| /| x| | -| /| x| | As| the| whir| ring| bu| reau| crats| | let| in| x| /| x x| /| x| | x| /| x| /| x| And | set| tled with| cof| fee| in| the| con| crete| pal| lets| x| /| x x| /| x| | x| /| x| /| x| A| wait| ing the| post| and| the| de| part| ment| meet| ing| x| | x| /| x | /| x| x| | /| x| Ex| cept| that| these| do not| know| it, | at| least| do| not| -| /| x| /| x| /| x| /| x| | x| | Seem| to| be| ing| bus| y| gen| ER| all| y| | x| /| x x| /| x| | x| /| x| /| x| So| per| haps| it is| on| ly| on| those| cloud| less| al| most| -| /| x| /| x| | x| /| x x| | /| x| | Vac| uumed| af| ter| noons| with| ti| ER u| pon| ti| ER| x| /| x| | /| /| -| /| x| /| x| | Of| con| Crete| like| rib| bones| | packed| a| bove| them| | x| /| | /| x| | x| /| /| x| | | And | they| light| head| ed,| with| the| blue| air| i| ness| | -| /| x x| /| x| /| x| | x| /| x x| | | Spin| ning a| round| and| muz| zy,| a| neu| ral| gia| | -| /| x x| /| x x| /| x| /| x x| /| | | Cal| ling at| ran| dom like| frail| re| lat| ions a| phone| | -| /| x x x| /| x| /| x x| /| x| /| x| | Ring| ing in a| dist| ant| of| fice they| can| not| get| to| x| /| x| /| x| /| x x| /| /-| | | That| they| be| come| at| ten| tive, or| we| do| these| | x| /| x x| /| x x| /| | x| /| x| /| Di| vis| ions per| sist| ing, in| deed| what| we| talk| a| bout| -| /| x| /| x x| /| x| /| x| | | | We,| con| struct| ing these| webs| of| build| ings| which| | -| /| x| /| | /| x| /| x x| /| x| | Caulk| Ed | like| great| whales| a| bout| us are| al| ways| x| /| x x| /| x x| /| x| /| x| | | A| ware| that some| trick| of the| light| or| weath| ER| | | | /| x x| /| -| /| x x| /| x| | | Will| dress| them as| friends| | plead| ing and| flail| ing| | | x| /| x| /| x| | x| /| x x| /| x x| And| fill| with| plac| id| but | UN| bear| able | mel| odies| -| /| x| | -| /| x x x| /| | /| | | Us | in| deep| | hint| erlands of| in| curved| glass| | Poets learn to trust their senses, but even to the experienced writer these (tedious) exercises can pinpoint what the ear suspects is faulty, suggest where improvements lie, and show how the metre is making for variety, broad consistency, shaping of the argument and emotive appeal. Though other scansions are certainly possible in the lines above, the most striking feature will remain their irregularity. Many lines can only roughly be called pentameters; Lines 16 and 17 are strictly hexameters; and lines 27 and 28 are tetrameters. In fact, the lines do not read like blank verse. The rhythm is not iambic in many areas, but trochaic, and indeed insistently dactylic in lines 9 and 10, 21 and 22 and 28. Line 27 is predominantly anapaestic, and line 3 could (just) be scanned: x x| / x| /| x x | /| | /| x x | Of the| heavy| surf| of the North| Sea| | flurr| ying| Reflective or meditative verse is generally written in the iambic pentameter, and for good reason — the benefit of past examples, readers’ expectations, and because the iambic is the closest to everyday speech: flexible, unemphatic, expressing a wide range of social registers. Blank verse for the stage may be very irregular but this, predominantly, is a quiet poem, with the falling rhythms inducing a mood of reflection if not melancholy. What is being attempted? Suppose we set out the argument (refer to rhetorical and other analyses), tabbing and reverse tabbing as the reflections as they seem more or less private: {8} 1. But, as you’d expect, 2. they are very impatient, the buildings, 3. having much in them of the heavy surf of the North Sea, 4. flurrying the grit, 5. lifting the pebbles, 6. flinging them with a hoarse roar against the aggregate they are composed of — the 7. cliffs higher of course, more 8. burdensome, 9. underwritten as it were with past days 10. overcast and glinting, 11. obdurate, 12. part of the silicate of tough lives, 13. distant and intricate as 14. the whirring bureaucrats 15. let in and settled with coffee in the concrete pallets, awaiting the post and the department meeting — 16. except that these do not know it, 17. at least do not seem to, being busy, 18. generally. 19. So perhaps it is only on those cloudless, almost vacuumed afternoons with tier upon tier of concrete like rib — bones packed above them, and 20. they light-headed 21. with the blue airiness spinning around, and 22. muzzy, a 23. neuralgia calling at random like 24. frail relations, a 25. phone ringing in a distant office they cannot get to, that 26. They become attentive, 27. or we do — 28. these divisions persisting, 29. indeed what we talk about, 30. we, constructing these webs of buildings which 31. caulked like great whales about us, are 32. always aware that some trick of the light or weather will dress them as friends, 33. pleading and flailing — and 34. fill with placid but unbearable melodies 35. us in deep hinterlands of incurved glass. The structure should now be clear. Where Eliot created new forms by stringing together unremarkable pentameters, {8} this poem attempts the reverse: to recast an irregular ode-like structure as pentameters. And not over-successfully: many of the rhythms seemed unduly confined. But once returned to the form of an eighteenth century Pindaric ode, however unfashionable today, the lines regain a structure and integrity. Each starts with a marked stress and then tails away, a feature emphasized by the sound patterns. {9} Sound Patterning To these sound patterns we now turn, adapting the International Phonetic Alphabet to HTML restrictions: 1. But | as | you’d | expect | u | a | U | e e | b t | z | y d | ksp kt | 2. They | are | very | impatient | the | buildings | A | a(r) | e E | i A e | e | i i | th | – | v r | mp sh nt | th | b ld ngz | 3. Having | much | in | them | of | the | heavy | surf | of | the | North | Sea | a i | u | i | e | o | e | e | e(r) | o | e | aw | E | h v ng | m ch | n | th m | v | th | h v | s f | v | th | n th | s | 4. flurrying | the | grit | u E i | e | i | fl r ng | th | gr t | 5. lifting | the | pebbles | i i | e | e | l ft ng | th | p b lz | 6. flinging | them | with | a | hoarse | roar | against | the | aggregate | they | are | composed | of | i i | e | i | e | aw | aw | e A | e | a E A | A | a(r) | o O | o | fl ng ng | th m | w th | – | h s | r | g nst | th | gr g t | th | – | k MP zd | v | 7. the | cliffs | higher | of | course | more | e | i | I e | o | aw | aw | th | kl fs | h | v | s | m | 8. burdensome | u(r) e e | b d ns m | 9. underwritten | as | it | were | with | past | days | u e i e | a | i | (e)r | i | a(r) | A | nd r t n | z | t | w | w | p st | d z | 10. overcast | and | glinting | O e(r) a(r) | a | i i | v k St | nd | gl NT ng | 11. obdurate | o U A | bd r t | 12. part | of | the | silicate | of | tough | lives | (a)r | o | e | i i A | o | u | I | p t | f | th | s l k t | v | t f | l vz | 13. distant | and | intricate | i a | a | i i e | d St NT | nd | NT r k t | 14. as | the | whirring | bureaucrats | a | e | e(r) i | U O a | z | th | w r ng | b r kr ts | 15. let | in | and | settled | with | coffee | in | the | concrete | pallets | e | i | a | e ie | i | o E | i | e | o E | a e | l t | n | nd | s tl d | w th | k f | n | th | k Kr t | p l Ts | awaiting | the | post | and | the | department | meeting | e A i | e | O | a | e | E e | E i | w t ng | th | p St | nd | th | d p tm NT | m t ng | 16. except | that | these | do | not | know | it | e e | a | E | U | o | O | i | ks pt | th | th z | d | n t | n | t | 17. at | least | do | not | seem | to | being | busy | a | E | U | o | E | U | E i | i E | t | l St | d | n t | s m | t | b ng | b z >/td> | 18.generally | e e a E | j nr l | 19. so | perhaps | it | is | only | on | those | cloudless | almost | vacuumed | afternoons | O | e(r) a | i | i | O | o | O | ou e | aw O | a U | a(r) e oo | s | p h ps | t | z | nl | n | th z | kl dl s | lm St | v k md | ft n nz | with | tier | upon | tier | of | concrete | like | rib | bones | packed | above | them | and | i | E e(r) | e o | E e(r) | o | o E | I | i | O | a | e u | e | a | w th | t | p n | t | v | k nkr t | l k | r b | b nz | p Kt | b v | th m | nd | 20. they | light | headed | A | I | e e | th | l t | h d d | 21. with | the | blue | airiness | spinning | around | and | i | e | U | (A)r i e | i i | e ou | a | w th | th | bl | r n s | sp n ng | r nd | nd | 22. muzzy | a | u E | e | m z | – | 23. neuralgia | calling | at | random | like | U a E a | aw i | a | a o | I | n r lj | k l ng | t | r nd m | l k | 24. frail | relations | a | A | e A e | e | fr l | r l zh nz | – | 25. phone | ringing | in | a | distant | office | they | cannot | get | to | that | O | i i | i | e | i a | o i | A | a o | e | oo | a | | f n | r ng ng | n | – | d St NT | f s | th | k n t | g t | t | th | | 26. they | become | attentive | A | E u | a e i | th | b k m | t NT v | 27. or | we | do | aw | E | oo | – | w | d | 28. these | divisions | persisting | E | i i e | e(r) i i | th z | d v zh nz | p s St ng | 29. indeed | what | we | talk | about | i E | o | E | aw | e ou | in d | wh t | w | t k | b t | 30. we | constructing | these | webs | of | buildings | which | E | o u i | E | e | o | i i | i | w | k nz str Kt ng | th z | w bs | v | b ld ngz | wh Ch | 31. caulked | like | great | whales | about | us | are | aw | I | A | A | e ou | u | a(r) | k kd | l k | gr t | w lz | b t | s | – | 32. always | aware | that | some | trick | of | the | light | or | weather | will | dress | them | as | friends | aw A | e (A)r | a | u | i | o | e | I | aw | e e(r) | i | e | e | a | e | lw z | w | th t | s m | tr k | v | th | l t | – | w th | w l | dr s | th m | z | Fr ndz | 33. pleading | and | flailing | E i | a | A i | pl d ng | nd | fl l ng | 34. will | fill | with | placid | but | unbearable | melodies | i | i | i | a i | u | u A(r) a e | e O E | f l | w th | PL s d | b t | n b r b l | m l d z | | 35. us | in | deep | hinterlands | of | incurved | glass | u | i | E | i e a | o | i e(r) | a(r) | s | n | d p | h NT l ndz | v | nk v d | GL s | Sound in poetry is an immensely complicated and contentious subject. Of the seventeen different employments listed by Masson {10} we consider seven: 1. Structural emphasis All sections are structurally emphasized to some extent, but note the use (in decreasing hardness) of * plosive consonants in sections 1, 5, 6, 7, 10-13, 19, 28-50; 31 and 35. * fricative and aspirate consonants in sections 2, 3, 6, 7, 12, 19, 25, 28, 32, 35. * liquid and nasal consonants in sections 3, 4, 12, 15, 17, 18, 19, 21, 23, 31-35. Also: * predominance of front vowels — in all sections but 6, 7, 11, 16, 17, 19 and 31. * predominance of vowels in intermediate positions — only sections 16 and 17 having several high vowels and section 3 low vowels. 2. Tagging of sections Note sections 1, 7, 13 and 15. 3. Indirect support of argument by related echoes * Widely used, most obviously in sections 3-7, 12-13, and 15. 4. Illustrative mime: mouth movements apes expression * Sections 2, 6, 11-13, 19, 31 and 35. 5. Illustrative painting * Sections 3-6, 10-13, 15, 19 and 33. Most sections are closely patterned in consonants. Those which aren’t (and therefore need attention if consistency is to be maintained) are perhaps 8, 9, 14, 18, 20, 22, 24, 26 and 27. Originally the poem was cast in the form of irregular pentameters. But if this is set aside in favour of the 35 sections listed above, how are these sections to be linked in a self-evident and pleasing form? A little is accomplished by alliteration: * f in sections 3 to 7. * s and t in sections 12 to 15 * w in sections 29 to 32 And also by the predominance of front and intermediate level vowels, but these do not amount to much. Certainly we do not find that the overall shaping of the poem emphasizes the argument or content. Sociolinguistics Language is not a neutral medium but comes with the contexts, ideologies and social intentions of its speakers written in. Words are living entities, things which are constantly being employed and only half taken over: carrying opinions, assertions, beliefs, information, emotions and intentions of others, which we partially accept and modify. In this sense speech is dialogic, has an internal polemic, and Bakhtin’s insights into the multi-layered nature of language (heteroglossia) can be extended to poetry. {11} Much of Postmodernist writing tries to be very unliterary, incorporating the raw material of everyday speech and writing into its creations. This poem seems rather different, a somewhat remote tone and elevated diction applying throughout. Let us see what’s achieved by grouping under the various inflections of the speaking voice. * urgently confidential But, as you’d expect, cliffs higher, of course, that they become attentive or we do * obsessively repetitious flurrying the grit, lifting the pebbles, flinging them†¦ burdensome, underwritten†¦ overcast and glinting, obdurate * over-clever silicate of tough lives  distant and intricate constructing these webs of buildings distracted and/or light-headed except that these do not know it at least do not seem to with the blue airiness spinning around calling at random like frail relations * melancholic and/or reflective some trick of the light or weather will dress them as friends pleading and flailing and fill with placid but unbearable melodies. The exercise hardly provides revelation. Heteroglossia is an interweaving of voices, moreover, not shifts of tone or reference. And yet there is something very odd about the opening line. Why should we expect the buildings to be very impatient? This is more than the orator’s trick of attracting attention, since the animate nature of buildings and their constituents is referred to throughout the poem. To be more exact, the attitude of the inhabitants — observers, bureaucrats, architects — to the buildings is developed by the poem, and is paralleled by the tone. But why the confidential and repetitious attitude at the beginning. Why should we be buttonholed in this manner? Why the But, which seems to point to an earlier conversation, and the urgency with which that earlier conversation is being refuted or covered up? Because the blame for something is being shifted to the buildings. What error has been committed we do not know, but in mitigation we are shown the effect of the buildings on other inhabitants. Or perhaps we are. In fact the whirring bureaucrats seem to grow out of the fabric of buildings, and we do not really know if the we, constructing these webs of buildings is meant literally or metaphorically. The poem’s title suggests literally, but perhaps these constructions are only of the mind: sections 17, 20-29, 32 and 34 refer to attitudes rather than actions, and there is an ethereal or otherworldly atmosphere to the later section of the poem. So we return to heteroglossia, which is not simply borrowed voices, but involves an internal polemic, {12} that private dialogue we conduct between our private thoughts and their acceptable public expression. The dialogue is surely here between the brute physicality of a nature made overpoweringly real and the fail brevity of human lives. That physicality is threatening and unnerving. If the we of the later section of the poem is indeed architects then that physicality is harnessed to practical ends. If the constructing is purely mental then the treatment is through attitudes, mindsets, philosophies. But in neither case does it emasculate the energy of the physical world. Architects may leave monuments behind them, but they are also imprisoned in those monuments (us in deep hinterlands) and hearing all the time the homesick voice of their constituents. Conclusions: Suggested Improvements The greatest difficulty lies in the poem’s structure. An pentameter form has been used to give a superficial unity, but this wrenches the rhythm, obscures the sound patterns and does nothing for the argument. If recast in sections defined by rhythm and sound pattern the form is too irregular to have artistic autonomy. A return could be made to the eighteenth century Pindaric ode in strict metre and rhyme, but would require extensive and skilful rewriting, and probably appear artificial. A prose poem might be the answer, but the rhythms would need to be more fluid and subtly syncopated. Otherwise, blank verse should be attempted, and the metre adjusted accordingly. The internal polemic is a valuable dimension of the poem, but more could be done to make the voices distinct. http://www. textetc. com/criticism/stylistics. html1. On StylisticsIs cognitive stylistics the future of stylistics? To answer this question in the essay that follows, I will briefly discuss Elena Semino and Jonathan Culpeper’s Cognitive Stylistics (2003), Paul Simpson’s Stylistics (2004), and a recent essay by Michael Burke (2005). However, because questions are like trains – one may hide another – any discussion of the future of stylistics raises intractable questions about stylistics itself. French students of stylistics, for example, will come across definitions of the discipline like the following. According to Brigitte Buffard-Moret, â€Å"si les definitions de †¦ [la stylistique] – que certains refusent de considerer comme une scien

Charles Rot S Macbeth Play Review Essays

Charles Rot S Macbeth Play Review Essays Charles Rot S Macbeth Play Review Essay Charles Rot S Macbeth Play Review Essay In the theatre production of Macbeth, directed by Charles Roy, we see a modernized version of the play, set in 20th century Syria, with a young but experienced cast. The contemporary take on Macbeth is fresh and original, but still holds true to the plays original values and themes. The cast was able to clearly illustrate the themes and characters, without watering down the play. The intense fight scenes and dynamic noises and special effects were able to keep the attention of easily distracted teenagers in the audience. Charles Roy definitely made some noticeable changes to the play, some I liked, and others I was not too crazy about. The main change that this production of Macbeth has made is the fact that the play is modernized. Since this timeless Shakespearean tragedy was written in the sasss, some of the lines spoken directly contradicted what was on the set. For example when Banquet was killed in Act 3 Scene 3, The First Murderer said, His horses go about. (Line 1 3), while on set there were motorcycles. Knowing that the play was modernized this was an easy connection to make, but for some people, it could make for some confusion. Also, the play is set in Syria rather than Scotland, making the references to Ireland and England seem very outlandish, considering the distance from Ireland to Syria. Another difference is the fact that Duncan was killed on stage. This addition to the play is something have mixed feelings about. It helped with the understanding of the play, but took away from imagining hat happened and from the tension that comes along with imagining. Another major change from the book to play of Macbeth is the absence of fair is foul,foul is 1 Scene 1). Since the supernatural is a substantial and meaningful theme in Macbeth, leaving out the base of the theme, really made it hard to follow the theme and underplayed the supernatural. Over all, was not a fan of the changes to the play, as some took away from the understanding of the play, while others took away from the suspense and imagination. One thing I was a fan off were the special effects. The writing appearing on the walls helped connect scenes and characters to major themes through out the play, and also emphasized words or phrases that have to do with the characterization. When the word ambition appeared on the wall during Machetes aside, which helped to connect the theme Of ambition to Macbeth, as the aside is revealing his inner most thoughts. One thing would have changed in this production was the set. It did not change at all for all of Act 1, even though the setting changes from the battle field to Dunces castle, and they relied mostly on special affects rather than objects. The set was basic, but the cast was able to work efficiently with, and that is a testament to their talents. The casts ability to play multiple characters and to display a characters personality and motifs was very impressive. Lauren Debbie, who played Lady Macbeth, had a captivating performance. She made the character change from a ruthless and ambitious women to a women filled with guilt, who could not carry on knowing what she has done crystal clear and seamless. She irked with the props very efficiently, like using the bath tub to emphasize how her hands will never be clean, making it easy for the student audience to comprehend the major theme of guilt and its connection to Lady Macbeth. A change in speech was most noticeable in the witches. In some versions of Macbeth, the witches have a eerie, raspy voice, which helps the audience distinguish them as evil or supernatural, but in the play they spoke like the rest of the cast, which could have been misleading if you had heard dramatic recordings of the play. The porter scene was executed very well, and was perfect comic relief. The drunken, humorous mood of the porter got the audience re-engaged with the play and laughing, while reliving suspense from the murder of Duncan. This version of this scene was spot on to our groups analysis. It clearly got across the theme of equivocation and the symbol of the Machetes castle as hell. Something interesting to note character wise is that Dominance is not found in the production. Charles Rays take on Macbeth is original, has some downfalls but also has lots of positives. It compares well to a production of Macbeth I saw earlier HTHÂ ± year, and proves that no matter where the play is set in, the major themes like ambition play a role in periods of time and places. I enjoyed the play for the most part, especially enjoyed the acting, and thought it was a perfect length and in a beautiful theatre. I definitely recommend seeing this classical theatre project of the Shakespearean tragedy Macbeth.