Animal Farm and 1984 Essay Example For Students

Animal Farm and 1984 Essay Animal Farm and 1984, two novels both written by George Orwell, were both ways for Orwell to express his anti-totalitarian standpoint. Animal Farm gives a specific example of an oppressive government by using animals to represent real life characters during the Russian Revolution. 1984, on the other hand, is a general warning against the dangers of following a dictatorial government. Overall, both novels utilize the parallels of the characters and the changing of the past, develop the general theme of the two novels that power corrupts and absolute power corrupts absolutely. The most obvious similarities in characters in 1984 and Animal Farm are Big Brother, the leader of the people of Oceania, and Napoleon, the leader of the animal rebellion on Manor Farm. Both Big Brother and Napoleon are authoritarian rulers who use absolute power as a means of gaining and keeping supremacy. Note: Big Brother can also represent the Party itself because the novel, 1984, never really makes clear who Big Brother really is (for all we know, he can be a character made up by the Party as a medium to publicize its intentions). Both Big Brother and Napoleon work behind the scenes rather than openly sharing their objectives with their subjects. They also give extra effort in trying to abolish any opposition to their rule, whether it be banishing Snowball or castigating Rutherford. Likewise, they place emphasis on elaborate ceremonies/gatherings as a way to give periodic updates on their orders and to keep their subjects from thinking freely for themselves. This is important because it takes away freedom from the people, which is the right to believe that 2+2=4. Without freedom to believe what you want, the ruler has the power to make you believe whatever he wants to. In Animal Farm, Napoleon uses the windmill by which he exerts control. He uses it to direct the animals attention away from the shortages/inadequacies on the farm, and the animals ignorantly concentrate all their efforts on the windmill. Napoleon and Big Brother s characters demonstrate the corruption that comes with having absolute power. Ironically, the characters that are willing to do whatever their superior says ends up being victims of their authority. Parson and Boxer are characterized by their loyalty to the government and by their blind, unquestioning faithfulness to their master. Boxer works vigorously to build Snowball/Napoleon s windmill wile Parson labors continually organizing for Hate Week. Unfortunately, because their work can easily be replaced, the two face the same fate at the end. The reader can safely assume that Parson is vaporized, and Boxer is sent to Alfred Simmonds, Horse Slaughter and Glue Boiler, Willington, Dealer in Hides and Bone-Meal. Kennels Supplied. Boxer and Parson represent the devoted portion of society that are betrayed by the by absolute power. The changing of guiding regulations and history used throughout both Animal Farm and 1984 are evidence of how absolute power can corrupt. In both cases, Big Brother/Party and Napoleon have worker(s) to reformat rules as a method of gaining more power and taking freedom away from their followers. In Animal Farm, for instance, the Seven Commandments are written on the side of a tarred wall in white letters to set a basis of a new government after the rebellion. As the book progresses, the commandments are slightly altered making the animals believe that they have understood another Commandment incorrectly and justifying Napoleon s actions. Similarly, in 1984, the Ministry of Truth was set up to change history so that the Party s actions will be acceptable, because the people of Oceania will assume that it was either their fault for misunderstanding or blame the Brotherhood for any incongruities. .u18c2d87a1930825d72e1ff5cc3e0525c , .u18c2d87a1930825d72e1ff5cc3e0525c .postImageUrl , .u18c2d87a1930825d72e1ff5cc3e0525c .centered-text-area { min-height: 80px; position: relative; } .u18c2d87a1930825d72e1ff5cc3e0525c , .u18c2d87a1930825d72e1ff5cc3e0525c:hover , .u18c2d87a1930825d72e1ff5cc3e0525c:visited , .u18c2d87a1930825d72e1ff5cc3e0525c:active { border:0!important; } .u18c2d87a1930825d72e1ff5cc3e0525c .clearfix:after { content: ""; display: table; clear: both; } .u18c2d87a1930825d72e1ff5cc3e0525c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u18c2d87a1930825d72e1ff5cc3e0525c:active , .u18c2d87a1930825d72e1ff5cc3e0525c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u18c2d87a1930825d72e1ff5cc3e0525c .centered-text-area { width: 100%; position: relative ; } .u18c2d87a1930825d72e1ff5cc3e0525c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u18c2d87a1930825d72e1ff5cc3e0525c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u18c2d87a1930825d72e1ff5cc3e0525c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u18c2d87a1930825d72e1ff5cc3e0525c:hover .ctaButton { background-color: #34495E!important; } .u18c2d87a1930825d72e1ff5cc3e0525c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u18c2d87a1930825d72e1ff5cc3e0525c .u18c2d87a1930825d72e1ff5cc3e0525c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u18c2d87a1930825d72e1ff5cc3e0525c:after { content: ""; display: block; clear: both; } READ: Author's View of Human Behaviour EssayAnimal Farm and 1984 are mediums with which George Orwell expresses his views of totalitarianism through the use of animals that represent major individuals during the Russian Revolution in Animal Farm, and in 1984 by using the Party and Big Brother as a general warning against absolute power. The similarities in the characters of both novels and evidence of rulers altering regulations and history develop the main theme of both books in that absolute power corrupts.

Reasoning Essay Sample Movie Review

Reasoning Essay Sample Movie Review'Raging Bull' has always been a film I've adored, and I decided to take a few minutes and write an essay or two about a reasoning essay sample movie based on that classic film. In this particular essay, I am going to share with you my reasons for choosing The Wizard of Oz as my essay sample. After all, it is certainly a movie that is quite well known, and my reader will definitely be able to get the point I'm trying to get across.Well, one of the reasons to watch the film is because of the character of the Wicked Witch of the West. In this particular film, she is not only one of the most evil characters to ever grace the silver screen, but she also suffers from a variety of facial disorders. If you don't have a mother like Dorothy's, you may want to look into seeing her. If you do have a witch mom or other witch in your life, well then there's always the brown witch for you to watch.In fact, her appearance actually makes her worse than a hag. During the film, she is meant to be the Wicked Witch of the East, however due to her condition, she was forced to transform herself. In a way, she became a disgusting beast, but still very much an animal. The film's message is definitely a direct one to those afflicted with this type of facial disorder, showing how they should not be ashamed to try to fix themselves.The other reason to watch this film is because of The Tin Man, the character played by Bob Hope. For those who don't know, The Tin Man is really more of a muscle man and dancer. As you may not know, he is one of the people responsible for bringing the Wizard to the East in the first place. That means he is a major character in the film, and he is a fantastic performer. And if that wasn't enough, he is one of the most respected people in the Wizard's world. So many people respect him, and he never leaves Dorothy behind. In fact, the reason for the Wizard to wish to see him as well is so that he can train him properly in his art . It is one of the great things about this film, and I'm sure many people will agree.After a long hard look at the film, I can honestly say that the film has a lot to teach us. The Wizard of Oz is a perfect film to use as a pre-rehearsal for an essay writing project, and to show a rational argument in an essay. You don't need to show why a scene is good, just a real logical argument for a great scene to make.So whether you're starting out or you've been around a while, you should definitely take a look at this great film. It has been making a lot of money recently, and if you watch a few movies in a row, you'll start to understand why. In fact, for a nice little stay in the theater, you might even end up watching the original movie again.

Reality vs Fantasy Literature an Example of the Topic Literature Essays by

Reality vs Fantasy Literature During the second half of the 20th century fantasy fiction has become one of the most productive and commercially successful of literature genres in English. In one sense this is not surprising. Literature containing elements of the fantastic is as old as literature in English, and includes such works as Beowulf, with its fire-spewing dragon and man-eating and man-eating ogres, Sir Gawain and the Green Knight, with its enchantresses and shape-shifting giant, or Sir Thomas Malorys Le Morte DArthur or Shakespeares Midsummer Nights Dream and The Tempest, with their respective complements of enchanted swords, elvish knights, fairies, and wizards (Fantasy Fiction 2007). Need essay sample on "Reality vs Fantasy Literature" topic? We will write a custom essay sample specifically for you Proceed The literature of the fantastic at any date can draw on a seemingly inexhaustible reservoir of concepts and characters from the age-old, international, and pre-literary genre of the folk tale, or tale of wonder. Literature of the fantastic should, however, be distinguished from fantasy fiction, a genre in some respects decisively modern. Readers and writers in a period dominated by science and by rationalistic world-view face problems in entertaining such concepts as those listed above, now known or at least very generally thought to be impossible or nonexistent. The problems were until recently increased by the low rating given to fantasy and the fantastic by practitioners of the realistic novel. In what one might call the post-Quixotic era, fantasy was marginalized into becoming a form for satire, for diversion, and above all for children. Undergraduates Usually Tell Us: I'm don't want to write my essay online. I don't have the time Essay writers propose: Things Go Better The greatest influence within the fantasy genre, however, has been another maverick, J.R.R. Tolkien. Tolkiens fantasy world, fabricated out of shattered myths which we, as post-moderns, ought no longer to believe in. The Lord of the Rings is essentially a re-creation, a synthesis of rejected myths and images into a fragile new composition. A skeptic may well ask why a discussion of fantasy must begin with metaphor, emblem, and suggestion. The irritation of the skeptic has point. It is one thing to identify the appeal of fantasy, but to demonstrate its value calls for something more bracing than suggestive emblems. Yet the proper beginning point is in the emblems, the metaphors, the haziness, the elusive circularity with which so many readers of fantasy articulate their responses. Tolkien used his expert in scholarly knowledge of Old English and Old Norse to create the world Germanic folk tale (Tolkien 2007). In C.S. Lewis chapter on The Meanings of Fantasy in an An Experiment in Criticism, with its repeated emphasis on fantasy as disinterested castle-building, to see the syndrome of metaphorical elusiveness at work. Even the more substantial writing of Tolkien in his famous essay On Fairy-Stories in Tree and Leaf will be a bitter pill for the skeptic since Tolkiens begins by describing the reading of fantasy not as an act of intellection, but as a journey through another country. And if Lewis and Tolkien, whose reputations as fiction writers rest almost exclusively on fantasy, seem to have a vested interest in speaking of their craft in mystifying terms, maybe we should listen to a novelist who works run a wider gamut (Childrens Literature 2007). Fantasy is the art of the unreal, the literature of the insecure soul. For the most part, fantasy is to be a vehicle for the soul of both writer and reader to articulate and reflect on mans basic insecurities. Fantasy allows people to think and imagine thoughts which are foolish in the eyes of society. Fantasy is a flower in an analytical and social jungle. What the students are saying is that readers of fantasy are often far more interested in protecting themselves than in protecting the art or the artifacts. The acknowledgment of feelings of insecurity, of foolishness, of an absorption so thorough that distance between self and book blurs, of fear that schematic constraints will cause imaginative coitus interrupts-all these responses indicate that the readers have lost control of themselves, have surrendered themselves is potentially embarrassing because those on the outside may find their reactions incomprehensible, unsophisticated, or socially unacceptable. These readers fear, in short, that they are not acting their age, and so describe their responses in stubborn or polemical or whimsical or cunningly vague terms which will shield them from charges of immaturity-shield them, in fact, from the repulsion and coldness which Freud saw as the dominant cultures rejection of public expression of fantasies by adults (Guibbory 2005). Fantasy restores a clear view of the familiar by making us free our vision form the blur of possessiveness. Tolkiens ethico-aesthetics provides a rationale for the basic convention of fantastic literature: the transference or displacement of familiar human situations and psychology to an unfamiliar, exotic, or bizarre setting. A look at one use of the convention in The Lord of the Rings will suggest how the fantastic transforms the familiar into the visionary. Readers of fantasy are like Frodo in Lothlorien, looking into an alien world but seeing little that has not been seen before. The machinery of the Rings-wizards, monsters, elvish runes, talking trees-is not its visionary center. The ostensible marvels have genuine charms of their own, but in the larger aesthetic of fantasy they are so much Windex for clearing the vision to more homely simple sights (Dubrow 2001). What keeps successful fantasy from self-indulgence or the decadence of mere novelty is that a writer like Tolkien do es not let the attention rest on the marvelous machinery, but directs the eye back to the richness of ordinary things. With access of knowledge and power the reader may turn to his own world, his consciousness of self, others and environment refreshed and cleansed. Tolkien, of course, neither invented nor exhausted the convention of displacement. And it is important to be wary of making Tolkienian fantasy an aesthetic-or ethical-norm. Neither the vision nor the response to vision which the Rings propose should be taken as definitive. In the trilogy the preferred response to fantastic vision is exuberance; even the bitterest knowledge the characters in the fiction acquire is tempered by a resiliency and vitality which makes the best of things. To say that a principal effect of fantasy is the return of the reader to his own world with access of knowledge and careful attention to the familiar is to hint at an important relation of fantasy to education. When education is a matter of refreshment, it proceeds, as do these types of literary fantasy, by simplification and subjective engagement. Simplicity and subjectivity may seem the very worst features of literary fantasy to adapt to the process of education; for the skeptic these features signify the unhealthy affinity between the fantastic and the escapist. As soon as teacher says, The kingdom of heaven is like a grain of mustard seed, he is appealing to learners fantasies, inviting them to attach personal, subjective value to a complex and recondite idea. The appeal to fantasy involves a severe simplification of the theological idea of heaven in order to transform the vision of heaven. As teacher, Jesus enlists the fantasies of his hearters by creating an image of the kingdom which is at once familiar and fresh, engaging and delightful. That image represents a sacrifice of conceptual rigor and precision; the pedagogy is anti-intellectual in that the teacher assumes the vision is father to the idea that subjective valuation precedes intellectual refinement Jesus the parable-maker exemplifies in his role as teacher the important function fantasy serves in the educative process (Timmerman 1983). We have, then, in simplification and subjectivity via Tolkien an illustration of the concomitant operation of creative and destructive forces in fantasy. The essential educational principle to which these forces contribute is the widening of thought through the abolition of conventional and obstructive categories of thought. The appeal of fantasy in education makes possible the restoration of the worth of an idea, to which complexity will add a later delight. As simple ideas from and solidify the teacher can wisely introduce more complex contingencies, not just to challenge simple ideas but to persistently reinvigorate the initial subjective valuation of learning. To keep simple ideas from themselves becoming inert and stale the teacher can cultivate the desire for the complex as a means to the continuing transformation as stretching of vision. In that sense, fantasy is not only the beginning point of education but its abiding motive, always opening new possibilities, always affirmin g a process of thought (Schefer 1997). As agent of education, the power of fantasy to renew and refresh what is inertly familiar creates an activity of mind whose enemies are habitual states of mind. This view of fantasy as a source of recovery and renewal-popularized and sanctified by Tolkien-makes fantasy out to be reasons natural ally: the freedom of fantasy is simply the prolegomenon to the discipline of reason. The appeal of fantasy may become a pedagogical trick which teachers can safely employ to engage students in process which will not undermine rational modes of thought and discourse. But there is another view of fantasy with other implications for education. The other view shifts emphasis from the familiar to the unprecedented, from powers of refreshment to powers of revelation, from an alliance with reason to an assault on rational consciousness, and form the secular to the numinous. That other view is adumbrated in the journal of a student who writes that fantasy requires not a willing suspension of disbelief, but a willing expansion of belief. When one suspends disbelief one adopts a temporary credulity; it is just a matter of shifting stance to return to disbelief: the mystery is disposed of, the book reverts to artifact, and the idea becomes tractable. But if an expansion of belief occurs, the shape and scope of ones world changes. Mystery is the dominant presence in a world where expanded belief dissolves boundaries between fantasy and actuality (Wemdorf 2002). A reader becomes implicated in a book and it cannot become again purely an artifact. A person is less likely to seize and master an idea than to feel seized and mastered by it. Fantasy is a way of enlarging experience, emphatically not a strategy for containing or rationalizing experience. In Alice in Wonderland of C.S Lewis expressed disappointment at the discovery that Alices adventures were all a dream. Fantasy is the ultimate/extreme of literature as an imaginative art. It is the incredible, the improbable, the implausible, the outlandish-the totally unlikely. But at the end of Alice, Carroll concedes to the plausible and denies his fantasy that extremity, that refusal to bargain with the laws of the normal world, which is an aesthetic standard many readers want to apply to fantasy. The ethical aesthetic came into play frequently in student responses to the endings of literary fantasies. A false note from the author at the end, a hint that de didnt mean to be taken too seriously, would threaten to unbuild a readers belief in and respect for a work which had seized his imagination. The epilogue is far more clever and ambiguous than Carrolls, but it was the cleverness, the feeling that Lewis wanted to manipulate her imagination. Lewis didnt want apologizing for writi ng a fantasy and she didnt want to hear about real and practical purposes (Morely 1887). Pray you no epilogue, for your fiction needs no excuse. The Little Prince is a fantasy which invites grokking. And Antoine de Saint-Exuperys fantasy of expansive and open-ended belief has had, loyal following than The Lord of the Rings. The mystery with Saint-Exupery stops the story is only an extension of the participatory nature of the entire narrative. The book is open-ended because it is throughout, filled with secrets and problems which it tempts each reader to ponder and fill in, each in his own way. The secret beauty of The Little Prince ad its doctrine of hidden riches and grokking an idea is not a matter of insights: grasping, enlivening, enhancing, discovering, discovering, and making ones own this-or-that return in the real-world-by virtue of gracing it with this-or-that private image (Bernstein 1999). Mystery. Belief. Grokking. Outsight. The words suggest very personal educational goals which have to do with establishing a sense of identity, grasping the meaning of ones relation both to the world outside oneself and to the world within oneself, even pursuing a from of religious fulfillment. Tolkien has described the fantasist as a sub-creator, one who does not create fantasy so much as the structural conditions for fantasy. The structure of a fantasy novel is a source of delight and stability for readers, but what they learn from fantasy comes from their imaginative participation in the work, not from any tendentious designs of the author. What fantasy is capable of offering is a means for finding some order to ones impermanences; what the teacher is capable of proposing are suggestions about the economies of discovery. Harry Potter in the classroom might be to explore and define fantasy novels. According to Beach and Marshall (1991), a fantasy novel includes the following characteristics: an element of good versus evil, a quest, physical metamorphosis, secondary world, magic and supernatural elements, and illustrations. With the exception of the cover design, no other drawings appear in the text of Harry Potter and the Sorcerers Stone. However, Rowlings use of imagery and descriptive language serve as a substitute for illustrations in the definition presented bove. Fantasy provides the students the opportunity to encounter works that deal with basic questions of life. What is the nature of human being? What constitutes evil? What are appropriate ways to combat it? (Childrens Literature 2007). Given opportunities to do so, students will come up with answers, searching within themselves, to judge the characters in Harry Potter and their actions. Whether Harry Potter and the Sorcerers Stone are capable of sustaining a lasting place on the literary table remains to be seen and may be highly debated. For example, Anthony Holden, a British critic believing Harry Potter is no Beowulf, labels the popular new book derivative, traditional, and not particularly well written. Conversely, in an eloquent justification of the books literary merit, critic Richard Bernstein (1999) explains, The key here is the hero, Harry himself. Harry Potters story offers psychological depth with its early images of alienation, rejection, loneliness and powerlessness leading to its classically fairy tale ending. It meets the rigorous criteria outlined by Bruno Bettelheim in The Uses of Enchantment. The essence of fantasy fiction, however, is liberation from the constraints of what is known, coupled with a plausible and persuasive inner coherence. The reader of fantasy accepts the rules set up by the fiction, and ignores, or relishes, the contrast with the rules of everyday reality, often glimpsed in fantasy as a horrific world of tedium and mediocrity. Reasons for the popular appeal of fantasy fiction no doubt include discontent with the mundanity of everyday life in consumer societies, openly voiced in Le Guins The Beginning Place (1980), and the associated yearning for more natural and colorful environments. Fantasy has however, also shown it ready to deal with questions of the utmost cotemporary importance, in particular, with the nature and origins of evil. Fantasy fiction has shown itself capable of dealing with topics which seem outside the range of the traditional realist novel, and speaks for and to a contemporary mass audience whose taste it has itself created. Works Cited: Beach, Richard, & Marshall, James. (1991). Teaching Literature in the Secondary School. Ft Worth, TX: Harcourt Brace. Bernstein, Richard. (1999). Examining the Reality of the Fantasy in the Harry Potter Stories. New York Times. 30 Nov., B1. Childrens Literature. (2007). Dubrow, Heather. (2001). Recent Studies in English Renaissance. Studies in Literature, 1500-1900, Vol. 41.Fantasy Fiction. (2000). Guibbory, Achsah. (2005). Recent Studies in the English Renaissance. Studies in English Literature, 1500-1900, Vol. 45. Longaker, Mark, & Bolles, Edwin C. (1953). Contemporary English Literature. Appleton-Century-Crofts. Morley, Henry. (1887). English Writers: An Attempt Towards a History of English Literature. Cassell. Schefer, Jean Louis. (1997). Critical Reflections. Artforum International, Vol. 35. Timmerman, John H. (1983). Other Worlds: The Fantasy Genre. Boling Green State University Popular Press.

How to Make and Keep an Appointment in German

How to Make and Keep an Appointment in German No matter if you are arranging a first date or a dentist appointment, the etiquette of punctuality is famous in Germany. This article will teach you more about how to make appointments in Germany and express suitable arrangements in German. Calendar Dates and Clock Times in German Lets start with fixing a date. Dates of the month are described with a system called ordinal numbers. If you need a refresher, you can review vocabulary for months, days, and seasons. In Spoken German For numbers up to 19, add the suffix -te  to the number. After 20, the suffix is -ste. The trickiest part of getting your suffix right is to notice that it will change depending on the case and gender of your sentence. For example, look at these two sentences: Example: Ich mà ¶chte am vierten Januar in Urlaub fahren. - I would like to go on holiday on the 4th January.Der vierte Februar ist noch frei. - The fourth of February is still free. The ending changes are in line with how an adjectives endings change as its used in a sentence. In Written German Expressing ordinal numbers in written German is a lot easier since there is no need to adjust the suffix to case and gender. For dates in the calendar, simply add a dot after the number. Note that the German calendar format is dd.mm.yyyy. Treffen wir uns am 31.10.? - Are we meeting on 10/31?*Leider kann ich nicht am 31. Wie wre es mit dem 3.11.? - Unfortunately I cant make it on the 31st. How about 11/3? How to Set a Time The second part of making your appointment is setting a suitable time. If you want to leave the suggestion up to your conversation partner, you can ask: Um wieviel Uhr passt es Ihnen am Besten? - What time is best for you? For a firmer suggestion, the following phrases will be useful:   Wie sieht es um 14 Uhr aus? - How does 2 pm look?Kà ¶nnen Sie/Kannst du um 11:30? - Can you make it at 11:30?Wie wre es um 3 Uhr nachmittags? - How about 3 pm? Germans are early risers, by the way. The standard working day runs from 8 am to 4 pm, with an hour of lunch break allowed. School days also start at 8 am. In formal environments and written language, Germans will speak in terms of the 24-hour clock, but colloquially its also common to hear times of the day described in the 12-hour format. If you would like to suggest a meeting at 2 pm, 14 Uhr  or 2 Uhr nachmittags  or 2 Uhr  can all be considered appropriate. Its best to take the cue from your conversation partner. Punctuality Equals Politeness According to the stereotype, Germans are particularly offended by tardiness. The oft-quoted saying Pà ¼nktlichkeit ist die Hà ¶flichkeit der Kà ¶nige  (punctuality is the politeness of kings) sums up what your German friends or colleagues may think. So how late is too late? According to the etiquette guide, Knigge arriving just on time is what you should aim for, and zu frà ¼h is auch unpà ¼nktlich. Too early is unpunctual, too. So in other words, ensure that you calculate travel times correctly and dont be late. Of course, a one-off will be forgiven and calling ahead if it looks as though you wont manage to arrive on time is highly recommended. In fact, the matter goes even deeper than a simple time delay. In the German-speaking world, appointments are considered as firm promises. No matter if you are committing to dinner at a friends house or a business meeting, backing out at the last minute will be taken as a gesture of disrespect. In short, the best tip for making a good impression in Germany is always to turn up on time and be well prepared for any meeting. And by on time, they mean not early and not late.

Why drug testing should not be allowed in schools Research Paper

Why drug testing should not be allowed in schools - Research Paper Example The paper discusses briefly on the reasons why drug testing makes apparent sense and then talks in greater detail about why it should not be allowed for the right reasons on issues very closely related to it. The brief digression is intended to highlight the rationale why it should not be allowed at all. It can be safely said that there are always two sides to an issue; debate and arguments can get heated and become divisive as long as people hold opposing views and stands on issues which they think and feel affect them and has an important bearing on their lives. This is the case with issues like abortion, euthanasia (mercy killing), same-sex unions, organ donations, the more recently-repealed DADT (dont ask, dont tell) policy in the military services and many others. A more closely-related legal issue is the use of plea bargains which critics say tends to undermine the whole judicial system by letting criminals off the hook lightly with a suspension or probation. This is the same situation with regards to the use of drug testing, whether voluntary or not. This particular issue resonates with almost everyone concerned, as the problem of drug use is quite a widespread social and health problem, given the proliferation of illegal drugs in society today. The drug problem is certainly a menace and many citizens feel that American society is about to overwhelmed by the enormity of this problem. Various solutions have been proposed to deal with it and drug testing is gaining popularity because it seems to make sense to most people. The idea of drug testing has caught on even among populist politicians, who proposed using it in varied aspects of American life such as applying for welfare benefits, where a welfare applicant has to take the drug test first and if he comes out clean, then he gets reimbursed for the expense and qualifies for welfare. If not, he waits for one year and take the test again (Cohen, 2011, p. 1). The idea has even been

Content Area Instruction and SDAIE Essay Example | Topics and Well Written Essays - 1000 words

Content Area Instruction and SDAIE - Essay Example Such equality, at learning institutions, can be tackled if educators offer well-designed assistance to their ELLs (Math Solutions, 2009). This paper will discuss the challenges English Language Learners face while trying to learn mathematics. A lot of educators share the misconception or myth that because mathematics applies a lot of symbols, then the subject is not associated or connected to any culture or language (Haynes, 2011). A majority of educators also supposed that mathematics is ideal for facilitating the changeover of recent immigrant learners into English instructions. To their disbelief, language has a significant role in learning mathematics. Educators apply language so as to explain mathematical ideas, as well as carry out mathematical procedures. When solving mathematical problems, students use specialized vocabulary such as subtraction, addition, sum and addend. Mathematics researchers have discovered that learners widen their math understanding through using languag e, as well as echoing on the concepts, which will cement their understanding. When students discuss their mathematical reasoning, it can assist them in improving their capability of reasoning logically (Haynes, 2011). The challenge or hurdle of teaching math to these ELLs lies not just in making mathematics comprehensible to the learners, but also in making sure that the learners have the language required to understand/interpret instructions. The challenge also lies in the fact that is it tedious to assist ELLs to express their understanding of mathematical concepts both in writing and orally (Math Solutions, 2009). English Language Learners have a duty of learning content, as well as English as a second language, at the same time. It is, therefore, difficult for them to understand both the content, as well as language objectives. Language can never occur if ELLs center only on subject matter, and same is the case for content knowledge. It can never occur if ELLs center only on und erstanding the English language. Another challenge that ELLs might face while studying mathematics is trying to understand unknown vocabulary. For instance, English Language Learners might become puzzled during a discussion or debate in case the math vocabulary has diverse meanings in its daily application. Such words include even, function and odd among others (Math Solutions, 2009). The ELLs might also be puzzled further than before when a similar math operation is signaled with various math terms for instance plus, and, add, sum or combine. A phrase such as "left" will be confusing to an ELL when used in a mathematical operation to ask how many individuals are "left". The ELL might confuse this left – remain – with the directional left. The phrases "whole" and "sum" also can create confusion since they carry nonmathematical homonyms – hole and some (Simmons, 2012). Another challenge is with a partial understanding of grammar and syntax. For instance, mathemat ical queries are frequently set in a language, which makes the problem difficult or unclear for the student. Such matter is explained below: John bought four bags of mangoes with eight mangoes in each bag. How many mangoes did John buy? The above problem employees both present and past participles of the irregular verb "to buy" in a single question. This might be difficult for an ELL to understand since they are not well in English. Another

French Essays Affaire Dreyfus

French Essays Affaire Dreyfus Discuter là ©volutiondes intellectuels francais depuis laffaire Dreyfus Pendantplus quun sià ¨cle, la prà ©sence des intellectuels en France est sans doute trà ¨simportante. Ils ont un rà ´le influent dans la socià ©tà © franaise et les nomscomme Zola, Sartre, Là ©vy et Debray sont connus partout dans le monde. Biensà »r, les intellectuels ne se trouvent pas seulement en France, mais il estprobablement l, avec ses grandes à ©coles et la culture de discussionintellectuelle dans les cafà ©s, oà ¹ on trouvera ceux qui ont le plus de respectet le plus dinfluence. La position de lintellectuel franais au sein de lasocià ©tà © franaise est significative. La France est fià ¨re de ceux qui donnentune voix au peuple dans un pays avec une histoire parfois anarchiste. Laprà ©sence des intellectuels tout moment important pendant le dernier sià ¨cle,ainsi que leurs contributions aux discussions politiques et sociales montrecombien lopinion des intellectuels est importante. Cependant,on verra que la position de lintellegensia a beaucoup changà © au cours dusià ¨cle. À laube dun nouveau millenium, il est aujourdhui que lesintellectuels franais se trouvent dans une situation inconnue. Est-ce quilssont destinà ©s de devenir perdu dans un monde dominà © par les nouvellestechnologies, oà ¹ est-ce que leurs dà ©clarations portent la mà ªme signification aujourdhuiquil y a cent ans? Laffaire Dreyfus et la naissance de lintellectuel Onpeut datà © exactement le moment oà ¹ le terme intellectuel est entrà © danslhistoire. Le13 janvier 1898, Georges Clemanceau, rà ©dacteur du journal radical LAurorepublie une lettre adressà ©e au Prà ©sident du Troisià ¨me Republique. La lettresappelle Jaccuse, et il sagit dun capitaine juif danslarmà ©e franaise, Alfred Dreyfus. En 1895, celui-ci est condamnà © peine devie pour la trahison et lespionnage. En fait, Dreyfus nà ©tait pas coupable,mais vu que lantisà ©mitisme fut trà ¨s populaire cette à ©poque-l, Dreyfus estsoumis une injustice extrà ªme. Là ©glise, là ©tat, et les mà ©dias lecondamnent, mais en effet, il à ©tait une victime des sentiments anti-sà ©mitiques. Aprà ¨ssa dà ©portation là ®le du Diable en 1895, la famille de Dreyfus essaie de lelibà ©rà ©, mais sans succà ¨s. Finalement, son pà ¨re à ©crit au à ©crivain, Emile Zola.Celui-ci devient donc le dà ©fenseur de Dreyfus, cest une personne cà ©là ¨bre etrespectà ©e avec une voix forte dans un climat anti-sà ©mitique. Zola accuse uneautre personne, Walsin Esterhazy, et il accuse le militaire et là ©tat duneconspiration contre Dreyfus. Pendant les semaines suivantes, la campagne deZola attire les autres personnages respectà ©s qui incluent les intellectuels etles à ©crivains comme Marcel Proust et Andrà © Gide. à ©videment, sur lautrecà ´te, il existe aussi les adversaires de Zola, ceux qui croyaient que là ©tatet là ©glise à ©taient suprà ªmes, et que de les remettre en cause à ©taient latrahison elle-mà ªme. En 1899 Zola est condamnà © aussi, et il sest mis en exileen Angleterre. Laffaireest donc divisà © en deux divisions opposantes, les Dreyfusards, Zola, Proust,Anatole France et Eduard Drumont (rà ©dacteur du journal la LibreParole) qui soutiennent Alfred Dreyfus, et qui luttent sans cessepour sa libà ©ration. Les antidreyfusards prennent la position adversaire, etils incluent Alphonse et Là ©on Daudet, Barrà ©s, Copà ©e, et Bourget. Aprà ¨s six ansde lutte, Alfred Dreyfus est libà ©rà ©, la victoire pour les Dreyfusards nestpas seulement une victoire pour Dreyfus, mais aussi pour tous les gens quiavaient à ©tà © maltraità ©s par là ©tat, mais qui auparavant navait aucun moyen dese dà ©fendre. Ilest à ©vident que les actions des Dreyfusards et la lutte menà ©e, et gagnà ©e contrelà ©tat ouvrent la porte aux intellectuels franais. Cependant, on verra quece chapitre nest quun dà ©but, et que le rà ´le des intellectuels à ©volue au coursdu sià ¨cle. La dà ©finition dun intellectuel Aprà ¨slaffaire Dreyfus, peut-à ªtre croit-on quil est facile de comprendre le rà ´ledes intellectuels dans la socià ©tà © franaise. On peut les dà ©crire comme lesdà ©fendeurs des droits de lhomme, les champions de la và ©rità ©, mais cesdescriptions sont probablement trop simplistes. Un intellectuel nest passeulement quelquun avec une bonne à ©ducation, sinon on pourrait dire que tousles à ©crivains, les journalistes, les universitaires sont les intellectuels,ceci nest pas le cas. Dà ªtre un intellectuel du mà ªme genre de Zola, il fautquelque chose de plus. Il faut quun intellectuel utilise son nom et sonprestige pour sengager dans une actività © au dehors de son domainedexpertise. Lintellectuelsera un homme du culturel; crà ©ature ou mà ©diateur, mis en situationdhomme du politique, producteur ou consommateur didà ©ologie. Ni un simplecatà ©gorie socioprofessionnelle, ni un simple personnage irrà ©ductible. Ilsagira dun statut, comme dans la dà ©finition sociologique, mains transcendà ©par une volontà © individuelle, comme dans la dà ©finition à ©thique, et tournà © versun usage collectif   Grà ¢ce leur intelligence et leur à ©ducation supà ©rieure, les intellectuels commandentdu respect et leurs opinions sont estimà ©es, souvent plus que celles des hommesde politique. Bien quil soit probablement naÃÆ' ¯f, il est vrai de dire que lesgens sont mà ©fiants de ceux-ci, pendant que les intellectuels sont considà ©rà ©scomme impartiaux. Au cours du sià ¨cle Ilparait que laffaire Dreyfus marque la vraie naissance du mouvementintellectuel en France, mà ªme si Zola nest pas vraiment le premierintellectuel individuel. Victor Hugo est son inspiration et là ©crivain Jacquesle Goff a à ©crit un livre au sujet des intellectuels en France mà ©dià ©velle.Toutefois, laffaire Dreyfus remonte le profil de lintellectuel, et il estun profil qui est paru de plus en plus pendant le vingtià ¨me sià ¨cle. Dansles annà ©es suivantes, les intellectuels franais interviennent souvent dansles discussions. Pendant la premià ¨re guerre mondiale, les intellectuelspacifistes comme Henri Barbusse et Romain Rolland essayent douvrir les yeuxdes franais aux atroces commis pendant la guerre. Barbusse, dans son livre  Le feu, journal dune escouade   raconte sesexpà ©riences du feu des tranchà ©es, et il y exprime ses aspirations pacifistes. Enplein conflit mondial, il apparaà ®t un mouvement surrà ©aliste. Autour du poà ¨teromain, Tristan Tzara, le cosmopolitisme du groupe est dà ©j une provocation.La date de naissance officielle du mouvement surrà ©aliste est en 1924 et pendantles annà ©es vingt ce groupe de jeunes artistes essaie de   bouleverser lavie   et   libà ©rer lesprit  . Ils soutiennent la lutte contreloccupation des colonies. Le surrà ©aliste Louis Aragon annonce son oppositionet quitte le mouvement, disant que lart devrait reprà ©senter la socià ©tà © commeelle à ©tait, il voulait dire que le mouvement surrà ©aliste devrait à ªtre partisanet dà ©fendeur du parti communiste (PCF). Le communisme et le fascisme Pendantles annà ©es trente, face la menace du fascisme, un groupe dintellectuelsfranais sunissent. Ils participent dans les comità ©s et les confà ©rences etsignent les pà ©titions contre le fascisme. Pendant loccupation nazie de laFrance, ce groupe dintellectuels travaillent en secret sur le nom du  Comità © national des à ©crivains   pour rà ©sister au   NouvelOrdre  , soutenu par les intellectuels opposà ©s, comme Pierre Drieu LaRochelle et Louis-Ferdinand Cà ©line. Lexpà ©riencede la Rà ©sistance pendant la guerre souligne exactement le rà ´le desintellectuels, mais la distinction entre les opinions universelles et lapolitique commence devenir confusà ©e. Le philosophe Julien Benda se plaignede la trahison des intellectuels qui donnent leur soutien en faveur desidà ©ologies politiques au lieu des idà ©ologies universelles. À cette à ©poque-l,lun des intellectuels le plus cà ©là ¨bres fait sa marque sur lhistoirefranaise. Jean-Paul Sartre souligne le rà ´le et la responsabilità © delintellectuel franais. Dans son ouvrage,   Quest-ce que lalittà ©rature  ? (1948)  , Sartre encourage lintellectuel franaisdagir selon la situation dans laquelle il se trouve. Sartre lui-mà ªme montreson engagement en à ©crivant des pà ©titions et des lettres sur plusieurs problà ¨mes,en particulier en ce qui concerne la guerre en Algà ©rie oà ¹ il mà ¨ne une campagnecontre la guerre elle-mà ªme, et, en particulier la torture. Mà ªmesi lon pense de lintellectuel comme dà ©fendeur des idà ©ologies universelles,les intellectuels sont toujours sur une grande pression dappartenir un partipolitique. Il est cette pression qui endommage la rà ©putation du mouvementintellectuel pendant les annà ©es suivantes. Sartre nappartient pas un partipolitique, il cherche trouver un compromis entre le capitalisme occidental etle politique de Stalin. Mà ªme sil ny appartient pas officiellement, Sartresoutient le PCF. Dautres intellectuels ne sont pas aussi timides avec leursaffiliations politiques, Aragon, à ©luard et Guillevic soutiennent ouvertement lePCF et Stalin. Les intellectuels communistes se collaborent avec lennemipendant loccupation nazie, et cette collaboration sape de plus la rà ©putationimpartiele des intellectuels. Raymon Aron est un intellectuel qui na pas la fascinationavec le marxisme en commun avec ses pairs, mais il est une figure solitairedans un pays oà ¹ le communisme est populaire. Il nest pas daccord avec unegrande majorità © des intellectuels et sa dissertation,   LOpium desintellectuels   (1955) oppose aux idà ©ologies communistes. Il estaprà ¨s linvasion de la Hongrie par la Russie que Sartre et les autresintellectuels retirent leur soutien du PCF, mais ils se tournent vers lesnouveaux rà ©gimes en Chine et au Cuba. Che Guevara est devenu une figureimportante pour les intellectuels. Les annà ©es 60-70 Lesà ©và ©nements de mai 1968 sont vus comme un succà ¨s pour les intellectuels. Il esteux, et non pas les ouvriers, qui provoquent les troubles. Mais on doit aussinoter que bien que cette à ©poque soit considà ©rà ©e comme un succà ¨s, lesà ©và ©nements soulignent aussi une division profonde entre les ouvriers et lesintellectuels. Pendantles annà ©es 70, les intellectuels interviennent dans plusieurs domaines, enparticulier les problà ¨mes concernant les paysans, les prisonniers, et lesouvriers immigrà ©s. Comme dans les annà ©es prà ©cà ©dentes, les intellectuelsessaient de donner une voix aux groupes pià ©tinà ©s mais il semble que plusieursde ces interventions naient pas beaucoup de succà ¨s. Il y a quelquesexceptions quand mà ªme, en 1971, le journal le Nouvel observateur publieun manifeste important. Simone de Beauvoir est parmi 343 femmes qui dà ©clarentde se faire avorter  ; ce manifeste mà ¨ne un changement là ©gislatif, lesfemmes obtiennent le droit de choisir. Letravail de Simone de Beauvoir, et dautres intellectuels ce moment-l marqueun changement subtil, mais important dans le rà ´le de lintellectuel franais.Auparavant, lintellectuel a luttà © pour la justice quelque soit le domaineaffectà ©, mais de plus en plus,le   nouveau intellectuel   ne seprononce sur les discussions dans son domaine de spà ©cialisme. Il parait que cegenre dintellectuel ne veut pas entrer dans les discussions au dehors de sondomaine de compà ©tence. Ladà ©sillusion des annà ©es 70 est soulignà ©e aussi par la publication de   TheGoulag Archipelago   par Alexander Solzhenitsyn. Cette publicationternisse limage de la Russie sous le rà ©gime de Stalin, et avec les preuves dugà ©nocide au Cambodge, les intellectuels deviennent anti-marxiste. Lesidà ©ologies des partisans communistes, et donc les intellectuels qui leur ontsoutenu sont mis en question pour la premià ¨re fois. Les jeunes intellectuelscomme Bernard-Henri Là ©vy et Andrà © Glucksmann, qui ont à ©tà © partisans du PCF,lient le communisme avec le fascisme, et retirent leur soutien. En juin 1979,Sartre demande au Prà ©sident daider le peuple vietnamien, ce qui montre queSartre est devenu aussi anti-communiste. PierreBourdieu est un autre adversaire du travail des intellectuels. Il dà ©critlintellectuel dans ses ouvrages,   La distinction, Homo academicus etLes Rà ¨gles de lart  , plutà ´t comme un genre dhomme de politique,au lieu dun hà ©ro du peuple. La position de lintellectuel aujourdhui Vuque la critique contre les intellectuels ne cesse pas augmenter, on sedemande alors si lintellectuel franais est une espà ¨ce en voie dedisparition. Peut-etre faut-il rà ©definir la description de lintellectuel.Winnock à ©crit  :   Les intellectuels ont aussi un rà ´le organique exercer, etreles ouvriers de cette dà ©mocratie impossible, rà ©gime de libertà © limità ©e,dà ©galità © approximative et de fraternità © intermittente (..)Plus large, plus profond, plus durable que les cris despamphlà ©taires et les manifestes des pà ©titionnaires, cest le travail quotidiendes intellectuels anonymes comme à ©ducateurs notamment qui me parait devoirà ªtre reconnu comme le và ©ritable contre-pouvoir, la fois critique etorganique, au sein de la socià ©tà © dà ©mocratique  . Dansson ouvrage, Le Dictionnaire des Intellectuels Winnock parle plutà ´t desà ©và ©nements au lieu des intellectuels individuels, il parait alors quelintellectuel lui-mà ªme, nexiste plus. Les mortes des personnagesimportantes pendant les annà ©es 90, comme Marguerite Duras, Franois Furet etGilles Deleuze soutiennent cette idà ©e, mais il est peut-à ªtre un peu simpliste.En à ©crivant un tel ouvrage, Winnock illustre le fait que les franais restenttoujours fascinà ©s par les intellectuels impressifs. En fait, pendant lesannà ©es 80, plus de 30 livres sont publià ©s au sujet des intellectuels, etdepuis 1990, plus de 80 livres en plus ont à ©tà © à ©crits. Il semble que lesfranais ne sont pas encore prà ªts oublier les intellectuels respectà ©s. Malgrà ©les observations de Winnock et le silence des intellectuels pendant les annà ©es 80,il est à ©vident quaux annà ©es 90, les intellectuels recommencent trouver leur voix.Les discussions politiques concernant les guerres en Bosnie, en Croatie, eten Iraq provoquent les interventions intellectuelles. En 1995, Juppà © proposeun plan de rà ©forme qui provoque les grà ¨ves et les manifestations. Lesintellectuels jouent un rà ´le important en critiquant ces rà ©formes, ils sontdivisà ©s en deux partis, ceux qui soutiennent les rà ©formes, et ceux quià ©crivent des pà ©titions contre celles-ci. Cette   guerre depà ©titions   souligne aussi la diffà ©rence entre les intellectuels universels,et ceux qui ont plus de spà ©cialisme dans le domaine de laide sociale. Pendantces discussions, lintellectuel franais parait comme un citoyen parmi tout lemonde au lieu dun guide suprà ªme. Ily a une autre intervention quil faut mentionner. En 1999, Debray va Kosovopendant le conflit. À son retour, Le Monde publie une   lettredun voyageur au Prà ©sident de la Rà ©publique  , dans laquelle Debrayattaque lOTAN. Les parallà ¨les entre cette lettre et le soutien donnà © au PCFet les idà ©ologies fascistes dans les annà ©es passà ©es sont à ©videntes. Ceci nedonne pas une bonne impression des intellectuels laube dun nouveaumillenium. Les mà ©dias Lesnouveaux mà ©dias jouent un rà ´le important dans là ©volution des intellectuels.On peut les voir comme une avance bienvenue pour intellectuel, ils leurdonnent loccasion de communiquer ses idà ©es plus efficacement, mais lesnouveaux mà ©dias sont aussi considà ©rà ©s comme une menace. Rà ©gis Debray est unintellectuel qui les critique. Selon lui  : Là ¨rede lintelligentsia sera celle de la plus grande inintelligence. En effet, ily a un rapport inverse entre la valeur informative dun message et sacommunicabilità ©Ã‚   Ilsemble que lavance des nouveaux mà ©dias mine limportance et le prestige desintellectuels. Ceci parait contradictoire lidà ©e originale delintellectuel. Les mà ©dias donnent aux intellectuels loccasion datteindre unplus grand public. En effet, il est grà ¢ce la presse à ©crite que lesDreyfusards ont eu du succà ¨s il y a cent ans mais cependant, maintenant on estplus mà ©fiant de la presse et les mà ©dias. Il est à ©vident quaujourdhui laplupart des à ©là ¨ves vont luniversità ©, le niveau dà ©ducation est plus haut etcomme rà ©sultat, les gens questionnent les opinions des intellectuels au lieu deles acceptà ©es sans questions. Conclusion Onne peut pas discuter que le rà ´le de lintellectuel franais a à ©voluà © beaucoupau cours du sià ¨cle. Laffaire Dreyfus et les à ©và ©nements de mai 1968 peuvent à ªtrevu comme les points culminants pendant le sià ¨cle, mais il est aussiincontestable que les intellectuels franais ont jouà © un rà ´le important dans laplupart des discussions controversà ©es. Bien quils soient toujours lià ©s auxpartis politiques, lintellectuel est vu comme quelquun qui peut, avec sonnom et son prestige, lutter pour la justice surtout oà ¹ il faut une voiximpartial et forte. Larà ©putation de lintellectuel à ©tait bouleversà ©e pendant les annà ©es 50, lesoutien du PCF à ©tait un erreur grave, mais le fait quils ont retirà © leursoutien montre que les idà ©ologies changent et les intellectuels ont le droit dechanger leur avis. Aujourdhui on voit que les intellectuels ne sont pasaussi vite daffirmer leurs affiliations politiques, pendant les à ©lections en2002 les intellectuels à ©taient notamment silencieux. Onvoit aussi que la description dun intellectuel a changà © aussi. Il y a probablementdeux types, ceux que lon appelle   universelle  , et ceux quiprà ©fà ¨re travailler dans un domaine plus spà ©cifique. Le fait que son rà ´lecontinue de change ne veut pas dire que la fin est arrivà ©e pour lesintellectuels, tout ce quil veut dire est que les intellectuels doiventà ©voluer aussi pour rester en contact avec le peuple. Lesmà ©dias jouent aussi un rà ´le important et avec lavance des nouvellestechnologies, comme linternet par exemple, il faut attendre encore quelquesannà ©es avant de voir ce que limpact sera. Nà ©anmoins il est à ©vident que lapresse et les mà ©dias ont toujours un rà ´le important. Dansle futur, il est peut-à ªtre vrai que lon va parler de la  personnalità ©Ã‚   au lieu de   lintellectuel  , mais pourle moment, la fascination des franais et lestime quils ont pour lesintellectuels, assurent que les intellectuels ont toujours une place dans lasocià ©tà © franaise. Bibliographie Lesintellectuels en France de lAffaire Dreyfus nos jours, Pascal Ory etJean-Franois Sirelli, Paris, A. Colin, 1986 Lesià ¨cle des intellectuels, Michel Winock, Paris, Seuil, 1997. Lediable en tà ªte, Bernand-Henri Là ©vy, Paris, B.Grasset, 1984. ContemporaryFrench Cultures and Societies, Frà ©dà ©ric Royall, Peter Lang, 2004. Francetakes its intellectuals to heart, Louis Oppenheim, The Chronicle Review,edition 7 September 2001.