Persausion Case Study Example | Topics and Well Written Essays - 500 words

Persausion - Case Study Example In this paper, three of the 21 principles will be discussed in detail, namely: â€Å"Learn to Transfer Energy†, â€Å"Communicating Clearly is Key† and â€Å"Being Prepared Gives you the Advantage†. Persuasion is not simply talking people out in order for others to agree with one’s thoughts and ideas. Nazar says that in persuading people, one has to learn to transfer energy. Needless to say then, one must have a positive attitude so that the energy he will transfer to others will make people motivated and invigorated instead of drained. The writer suggests that an individual should maintain eye contact with the people he is communicating with. This approach is known to show a person’s honesty in what he is saying. On another hand, it informs the other person that the communicator is interested in his response. Physical touch is another suggestion that the author makes. A hug, a pat on the shoulder or even a simple touch on one’s hand has an affirming effect on people. This can make a difference by letting others that a person cares for them and therefore, they will be willing to listen to whatever that individual who cares a lot about them; has to say. More over, an enthusiastic speaker who shows excitement in his verbal responses will be able to make others excited as well. Communicating clearly is also an important principle in persuasion. A person should not complicate things because it is believed that someone who does so has hidden agendas. People are often interested in what they benefit from others so that should be communicated simply and clearly. It is also important not to complicate matters for others to understand because it could give the impression that the speaker himself does not understand what he is saying. Therefore, it is essential for a person to explain matters in the most understandable way even if it means making it very simple. In relation to making things simple, it is also significant

Internet Cafes Essay Example for Free

Internet Cafes Essay WITHIN a few months China will overtake America as the country with the worlds largest number of internet users. Even when you factor in (include s/t as a relevant element when making a decision) Chinas size and its astonishing rate of GDP growth, this will be a remarkable achievement for what remains a poor economy. For the past three years China has also been the worlds largest exporter of information and communications technology (ICT). It already has the same number of mobile-phone users (500m) as the whole of Europe. China is by no means the only emerging economy in which new technology is being eagerly embraced. In frenetic (fast and energetic) Mumbai, everyone seems to be jabbering (talk rapidly and excitedly) non-stop on their mobile phones: according to Indias telecoms regulator, half of all urban dwellers have mobile- or fixed-telephone subscriptions and the number is growing by 8m a month. The India of internet cafà ©s and internet tycoons produces more engineering graduates than America, makes software for racing cars and jet engines and is one of the top four pharmaceutical producers in the world. In a different manifestation of technological progress, the countrys largest private enterprise, Tata, recently unveiled the â€Å"one lakh car†; priced at the equivalent of $2,500, it is the worlds cheapest. Meanwhile, in Africa, people who live in mud huts use mobile phones to pay bills or to check fish prices and find the best market for their catch. Yet this picture of emerging-market technarcadia (ideal techno paradise) is belied (fail to give a true notion) by parallel accounts of misery and incompetence. Last year ants ate the hard drive of a photographer in Thailand. Last week internet usage from Cairo to Kolkata was disrupted after something—probably an earthquake—sliced through two undersea cables. Personal computers have spread slowly in most emerging economies: three-quarters of low-income countries have fewer than 15 PCs per 1,000 people—and many of those computers are gathering dust (1). And the feting (celebration) of prominent technology projects in emerging economies is sometimes premature. Nicholas Negroponte, of the Massachusetts Institute of Technology, has long been championing a $100 laptop computer, presented with most fanfare at the World Economic Forum in Davos two years ago. The laptop was supposed to sweep through poor countries, scattering knowledge and connectivity all around (2). But the project is behind schedule, the computer does not work properly and one prominent backer, Intel, a  chipmaker, has pulled out. So how well are emerging economies using new technology, really? Hitherto, judgments have had to be based largely on anecdotes. Now the World Bank has supplemented the snapshot evidence with more comprehensive measures.

A Review of the Use of Platelets

A Review of the Use of Platelets Introduction Blood is circulated by the heart around the body and performs many physiological functions because of the many components in blood. Half of the blood consists of cells, whereas the other half is plasma fluid. Plasma contains the nutritional material, waste, and proteins which play a part in haemostasis as discussed later in the review. Erythrocytes are one of the cells in blood, they contain haemoglobin and their main function is to transport oxygen from the lungs to the body tissues. Blood also contains leukocytes and plays a role in defending the body from pathogens and foreign antigens. Finally the blood contains platelets, which are very small and work together with coagulation factors to play a major role in haemostasis. In order to understand the use of platelets in transfusion their physiological function should be considered. Haemostasis is a normal physiological response that helps avoid excessive bleeding and haemorrhaging. They have other function such as making sure the blood is fluid and in motion thereby maintaining blood vessel integrity (Verhamme, 2009). Haemostasis is a response of three different stages that progress through time. The first response which is known as primary haemostasis and this is where the platelet cells in the blood are activated once they come into contact with the exposed endothelial cells, especially collagen due to the vascular damage. The final haemostasis response causes fibrinolysis to separate and dissolve the blood clot (Verstraeten, 2004). Going back to primary haemostasis the platelets release a substance that causes the vascular muscles in the vessel to constrict, and expose a phospholipid structure that reacts with proteins known as a coagulation factors including fibrinogen and are found in the plasma. The damaged vessel releases a certain lipoprotein (tissue thromboplastin) that activates coagulation in the plasma forming a fibrin clot, which is the pus that is released once the clot is penetrated. Use Of platelets There are several uses of platelets for transfusion purposes that are available for a variety of patients. Children with malignant diseases such as Acute Lymphoblastic Leukaemia (ALL) or Acute Myeloid Leukaemia (AML) are the most common type of patients that can receive transfusions. This technique is used to treat excessive bleeding and also when blood platelet levels fall drastically. If patients with ALL show symptoms of the disease or are bleeding continuously and prone to infections then prophylactic platelet transfusion therapy is used to raise the platelet count. In patients with AML platelet transfusions are carried out during induction chemotherapy and then later on again during stem cell transplantation. Higher threshold platelet count is required in patients suffering from disease-induced thrombocytopenia. Transfusion in stem cell recipients is another use of platelets, particularly before the engraftment phase of transplantation. ABO incompatibility may be an issue with platelet transfusions and therefore the composition must be consistent with both the donor and recipient. Children with congenital platelet disorders may also require transfusion. Inherited disorders such as Bernard-Soulier disease and Glanzmanns thrombasthenia may cause patients to bleed excessively during surgery or on other occasions. Apherisised platelets should be used. Transfusions may also be required in patients who have abnormal platelets as a result of diseases such as Wiskott-Aldrich or Fanconi anaemia. However transfusions should be carried out prudently and reserved mainly for major bleeding episodes. Platelet transfusion can also be used during pregnancy. Situations include excessive bleeding that can occur during the post-natal period, consumptive coagulopathy, placental breakage, and serious toxaemia or HELLP syndrome. Cytomegalovirus (CMV) status should be checked and if negative or unknown then CMV seronegative platelets should be administered. CMV and other infections in the newborn, such as rubella and syphilis may result in repression of platelet production that can lead to enlargement of the spleen and also a decreased platelet lifespan. Platelet transfusion for neonatal congenital infections may therefore be a possibility. Platelet alloimmunisation may cause foetal thrombocytopenia and therefore transfusion therapy into the uterus of the baby during pregnancy can be achievable to increase the platelet count. Intrauterine transfusions (IUT) are also used to avoid brain haemorrhages and other areas where excessive bleeding can occur. However IUTs are known to cause foetal death in approximately 1% of cases. Patients involved in ECMO therapy or having a cardiopulmonary bypass can also have platelet transfusion therapy. Abnormally high levels of bleeding can be replaced to return platelet levels to somewhere near normality. Infants with Foetomaternal Alloimmune Thrombocytopenia with or without Intra-cerebral haemorrhage can have transfusion to normalise or replace platelet loss, making sure also that platelet-specific antigen used is negative. References Verhamme, P and Hoylaerts, M. F. (2009). Hemostasis and inflammation: two of a kind? Thrombosis Journal. 7 (15), p1-3. Verstraeten, L et al. (2004). Journal de pharmacie de Belgique. The physiology of primary hemostasis. 44 (4), P302-307. Pisciotto PT, Benson K, Hume H, Glassman AB, Oberman H, Popovsky M, Hines D, Anderson K. Prophylactic versus therapeutic platelet transfusion practices in hematology and/or oncology patients. Transfusion 1995; 35; 498-502. Kelley DL, Fegan RL, Ng AT, Kennedy MK, Blanda E, Chambers LA, Kennedy MS, Lasky LC. High-yield platelet concentrates attainable by continuous quality improvement reduce platelet transfusion cost and donor exposure. Transfusion 1997: 37; 482-486. Hunt BJ. Indications for therapeutic platelet transfusions. Consensus conference on platelet transfusions. Blood Rev 1998; 12:227-233. HG Klein and DJ Anstee; Mollisons Blood Transfusion in Clinical Medicine Ch14 p611-612; ch15 p675. Sally V. Rudman; Textbook of Blood Banking and Transfusion Medicine; Ch14 p380-383. THE ROYAL CHILDRENS HOSPITAL, MELBOURNE (2008) Platelet transfusion [WWW]. Available from: http://www.rch.org.au/bloodtrans/about.cfm?doc_id=7374 [Accessed 24/02/10].

Animation in TV Commercials

Animation in TV Commercials The effectiveness of animation in TV commercials Bryant May were the first British company to utilize animation for advertising purposes. In 1899 animator Arthur Melbourne-Cooper was hired to produce a stop-motion short in which matchstick men move along a ladder and paint an appeal on a wall. This appeal read `For one guinea Messrs Bryant May will forward a case containing sufficient to supply a box of matches to each man in a battalion with the name of the sender inside.'(www.bfi.co.uk) It is easy to be cynically dismissive of what is obviously a clever, if extremely crude, ad campaign disguised as a patriotic act of charity during the Boer war. However it is not as easy to be as dismissive of the extent to which animation has been adopted from these humble beginnings as a prevailing force within modern advertising strategy. The 22nd September 1955 gave birth to commercial television broadcasting in the United Kingdom. Right from the outset advertisers where quick to seize upon the opportunity and advertising possibilities that animation put in front of them. During these early years up to a third of television advertising was animated such as the â€Å"Murray Mints, the too-good-to-hurry mints,† or Snap, Crackle an Pop,† for Kellogg’s Rice Krispies which both debut in 1955. The Kellogg ads brought to life hand drawn characters that had been used on the packaging of cereal boxes since 1928 and the campaign still runs to this day. The Murray Mints commercial, which featured soldiers in bearskin hats march in time to a jingle, won best ad of the year in the inaugural year of British television advertising. (Robinson, 2000, p35) J Walter Thompson who had handled the Guinness account since 1929 set about bringing to life; through the process of animation, the extremely popular Gilroy post ers that had become an institution and started a ‘Guinness culture.’ If advertisers were keen to use animators in their campaigns then animators where certainly keen to encourage receive the work. The two industries formed a symbiosis which was characterised by the overnight emergence of a whole new market in the advertising industry meant that there were a lot of new opportunities for young animators to set up new companies with the minimum of capital and experiment with new techniques. Companies such as biographic which was set up by Bob Godfrey who produced ads for various companies such as Shipams fish paste and Nestle. (Threadgould, 2005) The use of animation in commercials certainly proved popular with advertisers, and with home viewers but it was the â€Å"Homepride flour men† who proved that it could also be an effective tool. The â€Å"Homepride flour men† ad debut in 1965. The ad featured two men in black business suits and bowler hats standing in between two packets of flour. A sieve is placed over the head of one of the men and flour poured into it. The processes is repeated with Homepride flour which sieves much quicker as it is graded and the second man is instantly covered in flour turning his black suit white. The reason is explained by the man in the hat; voiced by Dads Army star John Le Mesurier; and his words produced the slogan ‘GRADED GRAINS MAKE FINER FLOURS.’ The campaign succeeded in making Homepride a market leader within four months. These characters became so popular that a leader (Fred) was named by the advertising brains to give a name to the uniform faces. Merchandise such as aprons, peppermills, fridge magnets and various other kitchenalias were produced as ‘collectors’ items. Fred’s image spurned a whole range of sub products for the company and it is still used to sell a variety of Homepride products today. To keep up with changing times made retain a sense of tradition; various comedians such as Richard Briers and Paul Merton have voiced Fred, he is today voiced by Nick Frost from Spaced. Homepride have managed to infuse their brand identity with that of Fred, their iconic mascot. They have used his effigy on other products such as sauces and kitchen utensils to place the home pride brand firmly into people’s kitchens. However the runaway success of a particular ad campaign does not guarantee an increase of sales of the product it is supposed to promote. Creature Comforts began life as a short film. It was an incredibly engaging short due to the interaction between fantasy and reality with which it presented the viewer. In his book Understanding Animation Paul Wells describes the relationship between the diegetic narrative and the characters surroundings as fabrication and suggest that it is a narrative strategy. This is to say that ‘fabrication essentially plays out an alternative version of material existence, recalling narrative out of constructed objects and environments, natural forms and substances, and the taken for granted constituent elements of the everyday world.’(Wells, 1998 p90)   This means that there is a relationship between the abstract expression of character through the model and the ‘constituent elements of the everyday world,’ which lends itself more towards mimesis. Despite the fact that animation is an abstract form of expression, these ads have a ‘documentary feel’ that lends a voice of authority to their claims.   Nick Parks Creature Comforts and the electricity adverts that followed it present a world in which highly stylised models of animals are animated with the voices of members of the British public. The opinions and the voices of the public and then perfectly matched to appropriate animals. The most memorable example being Frank the jogging tortoise. Frank chats to a locked off camera about how nice it is to come back from a ten mile run into a warm flat, and how it is important that the boiler is easily â€Å"turn off and onable.† The world being presented to the consumer is instantly recognizable; frank is discussing the simple pleasures of modern life. He is an everyman despite the fact that he is a talking animal. The affinity between model animation and the physical world in which it is filmed means that it is to a certain extent confined by the physical laws of our world in order to remain recognizable and believable. Of course these laws can are being flouted, model characters can talk and discuss everyday matters like members of the general public, but the relationship between the animated models and the world they inhabit means that when physical law is flouted a sense of the uncanny or the fantastic is achieved. This is why the shorts or so engaging but it is also why they failed as ads. Despite the fact that the campaign reached number 4 in a 2000 poll of ‘The 100 greatest TV ads,† the common misconception is that the ads were selling gas. As Nick Park himself explains it, â€Å"People still refer to them as ‘the gas adverts.’† (Robinson, 2000, p124) Although the ads were highly memorable they failed to link the commercial and the product. Successful animalised advertising campaigns are based entirely on the same principles as successful live action campaigns. â€Å"Advertising’s central function is to create desires that did not previously exist.† (Dyer, 1982 p6) A miss-judged campaign such as the creature comforts campaign may not be deemed successful if it does not stimulate within the consumer a desire to consume a given product. Where as the Kellogg animated mascots for frosties, rice krispies and coco-pops have succeeded in becoming intrinsically infused with the products that they are selling. One of the main advantages of using animation in advertising is the ability of animators to create environments and worlds that could not be accessed or reproduced by a live action camera crew. These artificial environments can be used to stimulate imagination and desire, to create a fantastical world of possibility, which can then be realised by the purchase of a given product. Coco-pops are advertised by a variety of jungle characters that inhabit a fantastical world of imagination and fun that is extremely appealing to young children. Also when advertising medical products such as toothpaste, animated medical presentations can be employed. These usually take the form of a split screen with the advertised product on one side of the screen and a leading competitor on the other. The animation will then demonstrate just how the product works and is more effective than a rival brand. Another appeal of animation to the ad man is the classlessness of the form. (Threadgould, 2005) characters such as the Homepride’s Fred and the Fairy liquid baby are free from the class constraints of traditional British society. They bridge the class gap and appeal to proletariat and privileged alike. Animation can also be a relatively inexpensive process. Pioneers such as Peter Sachs of Larkin studios and Bob Godfrey of biographic, found quicker cheaper animation methods than the traditional fluid aesthetic style of Disney. They employed jagged and rough stylings that borrowed from German expressionism. The theory being, to use limited animation to maximum effect.   (Threadgould, 2005) By emphasising certain details advertisers can allude to certain qualities that can be associated with the product. For example the Michelin Man’s rounded tyre body alludes to the strength and durability of the tyres but also their malleability. The problem facing animating advertisers is a problem, which faces animators in general. The immediately obvious thing about animation is that it is an overtly fake diegetic form; that is unlike live action, which is often concerned with replicating the real world to achieve mimesis; the artificial process of creating narrative form is emphasized by the fact that the viewer is witnessing inanimate drawings brought to life through motion. The difficulty here is that advertising is the process of creating desire within the consumer; it suggests that there is a more desirable reality available to its audience through the consumption of a product. Successful animated adverts must therefore reconcile the fact that they are presenting to the consumer a fiction by alluding to an underlying truth. This is not necessarily problematic; Aesops fables were moral tales that spoke of ethical truths through anthropomorphic parable. Stories like the lion and the mouse or the wolf in sheep’s clothing took well-known anthropomorphic traits of certain animals and moulded them into cautionary tales about how one should live their life. In the same way animation selects certain details to present to the viewer to create abstract meaning that a consumer can readily identify with. The concept of the Jolly Green Giant for example is ludicrous; none of sound mind would actually believe that a giant green man lives in cornfields overseeing the quality of the corn. However symbolically he is representative of the qualities that the company wish to associate with there corn. He is a symbol of strength and power that come from nature. The corn he promotes is healthy strong and wholesome and this health can be acquired by those who consume it. He is jolly and friendly, a gentle giant who cultivates top quality product with a deft touch. We is also bright green the colour of nature, a symbol of health and vitality, the essence of life itself. Through these associations meaning is abstracted rather than dictated. It is the art of gentle persuasion as opposed to ‘the hard sell.’ Many people have preconceived ideas about animation as a whimsical medium suitable only for humour and children’s entertainment; however there are many examples of animation as serious political statement. Halas and Batchelor produced Animal Farm in 1954 as an adaptation of George Orwell’s novel. Scholars have often studied it as an allegory about the rise of Stalinism and the threat of communism, but it is no know that American backer Louis DeReochemount was a front man for the American CIA and the film was purposely used as anti Russian propaganda.   Like any other medium with an understanding of its aesthetic qualities can be used seriously and to devastating effect. A recent charity advertisement on behalf on the NSPCC depicted an animated child being sadistically and habitually beaten by his father. The ad showed the child being burnt with cigarettes, thrown down stairs and chocked. Humorous sound effects and cartoon clichà ©s along the same style of Tom and Jerry where used. This was a visual and aural aesthetic that the viewers were used to associating with harmless and enjoyable children’s cartoons. However the tension in play between the diegetic aesthetic of the animated child and the mimetic aesthetic of the father and the background environment served to unease, and unsettle to the point of disturbing the viewer. The viewer was left to imagine the results of such violence on a real child and the commercial’s effectiveness at highlighting the concerns of the NSPCC was undeniable. So why has animation become an effective tool in animation? The answer to this question lies within the concept of brand and brand identity. If the aim of the advertiser is to communicate the identity of a given brand as quickly and as succinctly as possible, then animation is an ideal medium.   In his book ‘Ad worlds: Brand, media, and audiences.’ Greg Myers defines branding as â€Å"the attachment of meanings to a labelled product.† (Myers, 1998, p33) That is to say that semiotic associations are associated with a given brand through the way it is produced, placed, promoted and priced. For example Guinness is a uniquely produced stout that is ubiquitously placed in almost every pub of the nation. It has a history of promoting itself through humour as a traditional drink to unwind and relax with and it is priced at a slight premium to give it a hint of exclusivity. Wally Olins suggests that a modern world that has become saturated with advertising, branding has become an essential tool in order for the consumer to quickly decipher to advertisers message before they are distracted by a competitor. In the words of Olins; â€Å"Why are brands such a clear and unique manifestation of our time? Simply because in a world that is bewildering in terms of competitive clamour, in which rational choice has become almost extinct, brands represent clarity, reassurance, consistency, status, membership –b everything that enables human beings to define themselves. Brands represent identify.† (Olins, 2003, p27) Getting consumers to empathise with a brand identity, and to desire to become a part of that identity can be extenuated through the use of a brand character. From Tony the Tiger to Joe Camel and the re-imagination of the milky bar kid to animated form, drawn and animated characters have been used to sell everything from children’s toys to cigarettes. These characters become intrinsically linked to the qualities of the product that they are selling. So what is it about the process of creating an animated character that is so effective in advertising?   In his book ‘Understanding Animation;’ Paul Wells sums up the basic principles of characterization as a narrative strategy in animation as; â€Å"the character may be understood through its costume or construction, it’s ability to gesture or move and the associative aspects of its design.† (Wells, 1998, p105) Regardless of if an animated character is an animal or human, animators rarely try to completely reproduce natural form. As such the problem is that they are presenting viewers with unnatural looking beings. If the viewer is to accept the characters shown before them, the characters themselves must be presented as believable.   This is why animators rely on exaggeration of individual features to suggest certain character types. Halas and Manvell describe this in their book ‘the technique of film Animation. †Characterization is achieved by the distortion of shapes and forms – big eyes, big mouth, big nose, large head small body etc.† (Halas and Manvell, 1968, p65) What the animators are stressing are the gesturing parts of the body, particularly the features of the head. The eyes, nose, mouth and ears are all vital in creating the illusion of human emotion. Anthropomorphic qualities in animals such as the strength of Tony the Tiger can be used promote a prod uct as healthy or enabling strength. There is a general rule of thumb with regards to which shapes go with what characters: kind gentle characters tend to have soft rounded faces with wide smiles and large rounded eyes. The Pillsbury Dough Boy is a great example of this principle. He is the embodiment of the jolly fat man. Generalizations such as this one serve as visual shorthand for the viewer; they optimise the impact of the character through economy and allow the viewer to make semiotic connections and process narrative information about the characters more quickly. In the words of Wells, animation â€Å"manages to compress a high degree of narrative information into a limited period of time through a process of condensation.†(Wells, 1998, p76) This method of economy and condensation in animation characterisation was born out of functionality as much as anything. Partially it was due to the fact that advertisements are extremely short. As such narrative information has to be delivered with great speed. In the medium of the television commercial, advertisers have anywhere between ten and thirty seconds in order to convey their message. As such the visual shorthand that animation design employs is perfect for the fast and accurate communication of the advertisers message.  Ã‚   With television being the dominant domain of the animated short, characters have to be easily recognizable on a small screen. It’s much easier to do this by recognizing one or two strong individual characteristics than several small ones. Most importantly however the simpler that a character is to draw, the quicker they become to reproduce.They rely on caricature and stereotype to relay narrative information quickly and succinctly. The Homepride flour men discussed earlier in this essay are a great example of how an understanding of characterisation in animation can give rise to a successful marketing campaign. They had a simple uniform design that was all at once, striking, memorable, unique and simple. The business suits and bowler hats stood for a business like British attitude, that at the same time was overly extravagant for selling flour and as such was self mocking. The characters were taken to the heart of the nation. With the effigy of Fred on all sorts of kitchen utensils his rightful place became the kitchens of British homesteads, and as such so did the Homepride brand. The twin process of animated character development and product branding both strive towards condensing as much narrative information into the least amount of detail possible and the shortest amount of time available.   Animation is an intrinsically imaginative medium. The human mind goes through a thought process of abstracting meaning from an animated diegetic aesthetic. It inspires thought in the way that advertisers wish to inspire thoughts of desire. It can be a pleasing experience in the example of Homepride’s Fred commercials, or it can be disturbing in such a way that the NSPCC have employed, either way the reaction provoked is one of individual thought and identification which in turn promotes the consumer to consume. Bibliography Bordwell and Thompson. (2001) Film Art: An Introduction, New York: McGraw Hill. Canemaker, J. (ed.) (1988) Storytelling in Animation: The Art of the Animated Image Vol. 2, Los Angeles: AFI. Dyer, Gillian. Advertising as Communication. London, Routledge, 1982. Griffin, H. (2001) The Animators guide to 2D Computer Animation, Oxford: Focal Press, Halas, J and Manvell, R. (1968) The Technique of Film Animation, Norwich: Focal press Limited. Kline, S. (1993) Out Of The Garden: Toys, TV and Children’s Culture in the age of Marketing, London: Verso. Myers, Greg. Ad Worlds: Brands, Media, Audiences, Arnold, 1998. Ollins, Wally. On Brand, Thames Hudson, London, 2003. Robinson, M. (2000) 100 Greatest TV Ads, London: Harper Collins. Wells, P. (1998) Understanding Animation, New York: Routledge. Williams, R. (2001) The Animators Survival Kit, New York: Faber and Faber. Websites(All accessed 27/11/05) www.bcdb.comwww.bfi.co.ukhttp://business.timesonline.co.uk/article/0,,9071-1560670,00.htmlwww.kellogs.com Filmography Animation Nation: The art of persuasion (Dir Merryn Threadgould, 2005, UK)Four Mations: Electric Passions (Dir Paul Madden, 1996, UK)100 Greates TV Ads (Dir Mark Robinson, 2000,   UK)

Aphra Behns Poem To the Fair Clarinda Essay -- Aphra Behn Fair Clarin

Aphra Behn's Poem "To the Fair Clarinda" In her poem â€Å"To the fair Clarinda,† Aphra Behn writes of a companionship between the speaker and Clarinda. This paper will attempt to prove that Clarinda is a hermaphrodite instead of a woman as is popularly believed, thus completely changing the meaning of the poem. In the first few lines, the speaker decides to call Clarinda â€Å"Lovely Charming Youth† (4) instead of â€Å"Fair lovely Maid† (1). The speaker says that the name will â€Å"lessen my constraint† (6). This could refer to the sexual feelings that are holding her back because of the womanly part of Clarinda. â€Å"And without Blushes I the Youth persue† (7) tells how the speaker is not embarrassed to desire Clarinda now that she is referred to as a Youth. Farther into the first stanza, the speaker talks about how the love between her and Clarinda is not wrong because Clarinda is perceived by the rest of the world to be only a woman, and two women in a friendly, romantic relationship was perfectly normal at this time. The speaker says that Clarinda was born as a hermaph...

Charles Dickens :: GCSE English Literature Coursework

Charles "David Copperfield" Dickens (1812 - 1870) Charles John Huffam1 Dickens was born 7 February 1812, second child of John and Elizabeth Dickens. The family would eventually number seven children, plus a son who died in infancy, and since neither parent seemed able to economize, things were generally very hard financially for the family. Charles attended school for a time in Kent, where the happiest days of his childhood were spent, but when the family moved to London in 1822, Charles was simply never re-enrolled in school, and was left to wander London largely unattended2. When the oldest child, Fanny, was sent to the Royal Academy of Music for training as a pianist, Charles, then 12, was deemed old enough to work to help pay the family expenses. So, for six months, he worked in a factory pasting labels onto containers of shoe polish. While there, John Dickens was thrown into debtor's prison, and released a few months later under the Insolvency Act3. It was a feud between John Dickens and the factory owner that eventually got Charles out of the factory and back in school, though Elizabeth tried her best to make him go back, which Charles never quite forgave her for. The factory experience will show up again and again in Charles' novels, and it also left him with something of a phobia about being dirty. In 1827, Charles left school again, more voluntarily this time, and took work as a law clerk, and then a parliamentary reporter. Though he also toyed with the idea of taking the stage (he loved amateur theatricals all his life), he eventually starts writing sketches for two of the London newspapers4, publishing them under the name 'Boz'. In 1835, now quite well-established in his sketch-writing, Charles proposed to Catherine Hogarth, daughter of George Hogarth, who had been advisor to Sir Walter Scott. They married in April of 18365, and the sweet-tempered Catherine generally allowed Charles to take charge of everything, including even the eventual naming of their children. That same year, Charles's began writing The Pickwick Papers, and suddenly he was famous. Imitations of Pickwick appeared everywhere. The now firmly upper-middle-class Charles still has many family problems, however. His father is still in debt more often than not, even going so far as to try to borrow money using his son's name, and Charles ends up paying most of John's debts.

All Quiet on the Western Front :: essays papers

All Quiet on the Western Front Mental abuse is sometimes overlooked, because of the rough physical abuse, but soldiers see a good side of both during wars. Maria Remarque shows the mental part of abuse on the book All Quiet on the Western Front. The narrator discusses all the hard times that went on during World War I, all through the book. Paul Baumer, the narrator, explains it when he and his friends enter the German army, very deeply although he is only eighteen. Baumer tells a story about fighting for their own sanity as well as their country. As the war begun, he and his friends got an real look at what the war was truly about. This book shows the conflict coming during the actual war, the boys use their spirits to try to overcome it. But the mind against reality that is described in the books, gives them a reality check on how life really is. During the beginning of the book, Remarque explains the boy's job, relating it to how hard it is to be in the war. Their was always something, not getting much sle ep, relieving the front line, and they also didn't have much to eat. What was going to happen, is described good by the way that the author talked about the life of the soldiers, but the boys failed to realize reality. Thinking that the war was just an ideal character. Convincing the reader to believe the boys didn't know the risk they were taking by being in this war. They way the boys viewed it, shows that, true their are some hard times in wars, but their minds are young and they thought it was just another thing to talk about. When they should have been taking things more serious, but thinking about the good parts helped them to keep a hold on their sanity. "They ought to have been mediators and guides to the world of maturity, the world of work, of duty, of culture, of progress to the future", was the beliefs of the boys after their friend Behn dies. Their generation thought that the authorities were going to look after, and take care of them, the authorities were thought of real highly by them. Until their friend passed away, then everything changed. "We had to realize that our generation was more to be trusted than theirs", this is where they came to reality that, everybody was taking c are of their selves, and didn't want anything to do with other peoples problems.