One Night Bland/Almost Sentimental by Ted McCloskey and the HiFis free essay sample

You probably haven’t heard of Ted McCloskey and the Hi-Fis. I hadn’t until Saturday December 10, 2011. My family and I were planning to go to a local restaurant that also had live music. We got there and enjoyed a good meal, but the whole time I was itching for the music to start. I love rock music and that was what I was about to hear. I loved the band instantly. All the songs were great. After the band finished their first set, I immediately bought two of their albums. The Albums were One Night Bland, which features a mixture of Ted’s new song and remixes of his old songs and Ted’s latest album Almost Sentimental; which has fifteen of his latest songs. Every song is amazing, and they are all Teds own songs-no covers. They play Indie rock and it’s the kind of thing that you can listen to again and again without getting tired of it. We will write a custom essay sample on One Night Bland/Almost Sentimental by Ted McCloskey and the HiFis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page You can hear strains of classic rock, alternative rock and blues influences in his songs, but you can also hear his own unique style. Ted uses his guitars (acoustic and electric) to create dynamic, rhythmic patterns, and if you want proof, listen to the song Swimming Again on One Night Bland. Swimming Again is one of their best songs. The song uses a simple guitar riff that immediately hooks you. This is the kind of song that makes you want to tap your foot, bob your head, or even dance to the beat. One of the best songs on Almost Sentimental is the song Feeling kind of Ruff. You can hear what Ted was feeling in this song. His lyrics suggest sadness, but the song still has an energetic feel. In all his other songs, Ted plays awesome guitar solos. Ted uses blues undertones in these solos that really adds character to the songs. The Hi-Fis make Ted’s already awesome music even better. Daryl Branfords steady drum work is the glue that hold the songs together. Dominick Swentosky uses his guitar and sax to add an exciting, bluesy touch to the songs, while Rene Witzkes solid bass lines add interest to Teds music. Molly Countermines vocals and piano give Ted’s music a softer finishing touch. The music isn’t sparse or overly complicated; it’s in the perfect middle. I recommend Ted McCloskey and HiFi’s to anyone who likes good rock and roll. Ted isn’t very famous or anything; he’s just doing what he loves (and what he does is pretty awesome). I can’t wait till the next time that I’ll get to see Ted McCloskey, a real rock n’ rolla!

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