Beauty of Mateship

Poetry is one of the most ancient media in which people express their emotions and perhaps one of the most beautiful; as Howard Monomer gracefully puts It, â€Å"It may be said that poems are In one way Like Icebergs: only about a third of their bulk appears above the surface of the page† (1920 1 991 Australian poetry is no exception to this tradition of versified thoughts and feelings, and many a poet have demonstrated an intense focus on both the artistry and harshness of the environment that harbors this nation.Through the creativity and emotions of the poets, Australians are arrayed In a contrasting light as both likeable and dissociable. This Is particularly apparent in the poems being analyses in this essay – A. B. ‘Banjo' Patterson We're all Australians now and Kimonos Servos' nobody calls me a hog anymore. While both Banjo Patterson and Kimonos Servos infuse their poetry with the spirit of metathesis and acceptance In Australia, Patterson focuses on the ci rcumstances of war which ‘instantly mend' the countries' interstate differences while Servos concentrates on the struggle to achieve tolerance as an international migrant.These two poems share a umber of similarities. The first of these is the focus on equality between all, which creates a sense of unity within the participants In the narrative told by each poem. In We're all Australians now, Patterson makes powerful allusions to the nation as a whole using cities as synecdoche for integration such as â€Å"From Brome to Hobnobs Bay†. Brome is a city on the North-Western coast of Australia, while Hobnobs Bay is an electorate of Melbourne, In the south east of the country; hence, this metaphor Implies the Inclusion of the inure country.The third stanza of the poem Incorporates people of opposing ethnicities, using a true blue' metaphor, â€Å"the man who used to hump his drum†, to introduce the indigenous people to the picture through their musical customs, referr ing to their drum playing as an Identifying feature (Aboriginal Arts and Cultures Centre). They are compared as â€Å"fighting side-by-side† with Tasmania farmers; one cannot escape the carefully constructed and implicit incorporation of two distinct ethnic groups as Tasmania people are likely the whitest Australians there are, given the cool climate of their state.This creates a contrast between pollarded races while portraying them all as equal. The title of the poem suggests the idea of unity and togetherness, and everyone being the same – the phrase â€Å"We're all Australians now† appears as an anaphora throughout the poem to reinforce the importance of Australian identity. Within this phrase, the persona Includes himself, which he doesn't do at any other point throughout the poem; this could suggest that he uses himself as a replacement for everyone through use of the word ‘we're'.In a similar fashion, the use of the word ‘now implies reminisce nce of previous times, such that the conflict between states is gone but will never be resorting. Servos also focuses on equality between people. The title of the poem, which Is also Its first line and Its dominant Ideology, states this concept of personal acceptance and equality quite frankly: â€Å"nobody calls me a hog anymore†. The poet†, set the hopeful yet sarcastic tone: despite all the hardship, the persona is accepted as an Australian.The end of the poem shows the use of schism's in the line Mimi need me, and I need you†, which gives the effect that the sharing and the acquisition of Australian citizenship is a mutually beneficent deal, thus creating equal opportunity for both participants. This type of relationship generally results in a unified environment: Australia is enriched and the protagonist is embraced. Both writers have used Australian symbols, icons and stereotypes in order to relate to the concept of acceptance into Australian society and to relate to a typical Australian audience.We're all Australians now refers to perhaps the biggest icon the nation has, its national flag: â€Å"Our six starred flag that used to fly/Half-shyly in the breeze. † This can create a sense of patriotism in the reader, making them feel proud of their entry and thus allowing them to visualize and work towards achieving an atmosphere of acceptance and metathesis. Patterson also refers to the more traditional, enumerating, well-known occupations of the country, especially as they were at the time of the war.These include the men who worked in the shearing shed, or the shearers, those who worked on the cattle runs, the fishermen, the farmers and the miners, scattered throughout the verses. All of these are attempts to relate with the audience, particularly that of the sass, allowing them to feel as though they too re involved in the metathesis, camaraderie and acceptance that the nation is so well known for. The final important reference to Australian identity in this poem is found in the last stanza: â€Å"And with Australia's flag shall fly/A spray of wattle bough†.The poem states the purpose of this explicitly – it is â€Å"to symbolism our unity. † Perhaps the main drive behind the choice of â€Å"wattle† is something as simple as the fact that all men in Australia can grow the wattle, the national flower, no matter where they come from or what they look like; thus, it creates a bond between the people. The wattle therefore becomes a metaphor for togetherness. Kimonos Servos is a little less ‘romantic' and idealistic in describing Australia's struggle to achieve this same goal.His heavy use of colloquial language and intentional lack of spelling, grammar and punctuation conventions imply that he is not trying to please and appease a demanding, skeptical Australian society but rather use his resume as a good reason for benefiting from the tolerance and equality that is so loved a bout Australia. He tries to replicate the way Australians speak in particular as Servos tends to more often than not perform his poetry, making it more a spoken then a written piece (De Wright).Examples of this sort of language include â€Å"I'm an cozies too†, a tirade of interesting, accusatory Australian slang such as â€Å"Fair dinked ridge dodge a dinky die true blue† and â€Å"Me hog mate Kevin†, where the word â€Å"me†, replaces the grammatically correct term â€Å"my', as this is how it is often pronounced. He deals with parts of life that are vital to common Australian people, detailing that they apply to him also: â€Å"A poet with a mortgage/And a wife, and kids/And gas bills, and a tax file number/Just like you.These depictions of real life Susie living create a common ground for both poet and reader, allowing for the ultimate message to be shared: we all deserve – for various, complex reasons – to be called Australians! The p oems also have a number of differences, segregating their ideologies and themes accordingly. The first of these differences is Patterson softened poetic mood as compared to the experiences which engendered them. The most obvious part of the poems that is different and which connects to this idea is the prosody. We're all Australians now has consistent end rhyme and rhythm and flows really well.This is in complete juxtaposition to Server's choice of prosodic elements, which has no consistency and appears as rebellious, unconventional and abrupt as the message itself. They are representative of what the poets are trying to portray – while Patterson is depicting a perfect, naturally occurring team environment, where everyone gets along instantly and operations and relationships flow smoothly, Servos is displaying a struggle to obtain this acceptance, a struggle which is filled with bumps, lumps and plenty of twists, similar to the mood created by the irregular number of syllable s and incidental rhyme.This may be owing to the experiences of each respective poet. Patterson writes about the Battle of Galileo, in a highly dampened manner, as indicated by the reference to Gab Tepee hill, which is a hill Just south of Anza Cove. While he served in the First World War, it was not at Galileo, but rather on the Western Front, meaning essentially that he never actually witnessed exactly what it was he was writing about (University of Sydney).On the other hand, Server's poems often, among other things, contain confronting, realistic autobiographical content. An example of another of these poems is childhood in Richmond, where in fact he is describing his own childhood as a fight for recognition â€Å"and a bag/ full of dreams†; nobody calls me a hog anymore appears to be based on a similar concept (De Wright). The term Hog' is used in Australian English to describe foreigners, particularly Mediterranean Europeans. The poet is a Greek Australian, born in Melbou rne to Greek parents.It is likely then that this poem describes his own experience, an idea strongly reinforced by his referral to himself and the use first- person point of view, both of which are lacking in the other poem: â€Å"And I said, Australia, hey! ‘/You can call me Kimonos! â€Å". All these factors allow him to not only better describe the situation, but to relate to the audience better. The oscillation between first and second person connotes the author's deep desire for dialogue, conversation achieved through the use of pharmacopoeia.Also emphasizing this idea are the forms of figures of speech present in each poem. We're all Australians now has a lot of tropes such as metaphors, personification and metonymy to embellish and moderate intentions; for example, the lines â€Å"the mettle that a race can show/is roved with shot and steel† display metonymy, replacing guns or weapons with the phrase â€Å"shot and steel†, which essentially means the bul lets and the blades; it is a way of euphemistic the otherwise painful message and making the scene a little bit milder than it actually is.On the contrary, nobody calls me a hog anymore is blunter and to the point, instead using figures of sound such as schism's, napoleon and gausses in order to persuade the reader of the point. Patterson and Servos are describing two different scenarios in their poems – while Patterson is discussing the resistances provided by war which instantly heal any interstate dissentions, Servos is essentially portraying the personal fight and victory that he had against racism.Throughout We're all Australians now, the quelling of competition between states when faced with war is a common theme, shown particularly well in the line â€Å"We're not state children anymore†. This line personifies â€Å"the state† as motherly and then quickly brushes over the simplicity of detachment from one's state to instead form a nation. Another part of the poem recites â€Å"For English, Scotch and Irish-bred/ They're all Australians now! At the time in which this poem was set, Australia was a young nation of Just 14 years, so the English, Scotch and Irish are not necessarily literally those nationalities (though for many people of the time, it would have been), but more likely their heritage, including the quintessentially Aboriginal one. On the other hand, Servos, as stated earlier, is depicting a constant struggle, a fight for his own personal acceptance. He attempts to connect with the audience and Australians in order to achieve this.He also describes parts of his struggles in the first half of the memo. For example, gausses is used in the lines â€Å"Point the finger accusingly/Thump my fist demandingly', in order to describe the escalation of moods. He Jumps from peaceful accusations to semi-violent measures within the space of two lines as the anger boils up. Overall, the poets have each drawn upon their own personal exp eriences in order to spin the webs of aesthetic features that readers still enjoy today.Be it Patterson third-hand experience, comparing the Western Front of the Great War to the Battle of Galileo, or the personal story told by Kimonos Servos of he struggle against racist attitudes, the poems leave a lasting message that shall be forever remembered; Australian metathesis is real, a sense of acceptance seen nowhere else in the world does exist, forming indestructible bonds of helpfulness and tolerance.

Sexual Biography

To be honest, I do not remember any milestone or turning point of my sexual biography. My sexual awareness came smoothly and naturally as I grew up. The events I am going to tell will be pretty vague in terms of time order and my feelings. I have no idea when I began noticing that girls and boys have different parts but it was not earlier than my first grade. However, I did notice that there was something from the girls in class that made me blush and acting awkwardly when I had to talk to them.Also, the boys in my fourth grade talked about condom everyday, so I perhaps knew how condom was used, but it would not be a proper way even before I were aware of what a penis could do. I masturbated quite often until I were 14 and had a first relationship. The reason were self masturbated felt good andI thought no one would know about it. But my dad knew eventually. One day he talked to me about it, but in an awkward way. That time I was embarrassed, but I also wondered why he had to behave so unnaturally. He expected me to tell my little brother later on, but I never told him so I bet he did it himself.I read much about masturbation and knew people found it embarrassing themselves when doing it, but I have never thought masturbation was a guilty behavior or some kind of sins. I barely asked my parents about how I was born. Actually we did not talk much about everything. I remember I asked my mom just one time. She pointed at her navel and said I came from that little hole and I believed her. When I was around 12, I still wondered is if girls are interested in taking about boys? Of course I didn’t know what they would do together! I didn’t even wonder if girls masturbate.I thought they were some kind of godlike creature, some kind of angels that don’t do things boys do. But now I know female also want the things male want, although they want less than male do. Also, I liked a girl who was 2 years younger than me in middle school. I was bothered by the fact that I have had wanted a girlfriend in the same age. I thought I should not like that girl, that it was immoral and going against the natural order of the community. I fought against those thoughts and eventually gave up. After that, I didn’t think it immoral anymore†¦ I am recently in a relationship with a young lady who is 2 years younger than me.We have sex and were very clear about premarital sex. Unlike before I now have very clear position about controversial issues such as premarital sex, abortion, gay marriage and transgender. I am also aware of condom, menstruation, pregnancy, masturbation, oral sex and sex positions†¦ The fact were I and my partner agreed not to have sex until marriage, but we failed and committed to intercourse sex 3 times per week. It has been 2 years since we started having sex and it feel good and splendid. But more than that, we feel great and secure since we are together.

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Persuasive Interview (Guide and schedule) Speech or Presentation

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Case Analysis for North American Warehouse Clubs Essay Example for Free

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How effectively does Shakespeare use scene 1 Essay Example for Free

How effectively does Shakespeare use scene 1 Essay A pair of star-crossed lovers take their life this immediately tells the audience the tragic fate of the lovers mentioned in the first 6lines of the prologue. Warning the audience of the sorrow and heartbreak that the play will lead to. Shakespeares Romeo and Juliet is based on the hatred between two families, the Montagues and The Capulets and how their anger and passion towards each other lead to the death of a beloved child from each family. Shakespeare uses Act 1, scene1 to introduce many of the main themes that appear throughout the play, these main themes are; Disorder, fate, light and Darkness, love and passion. Using this prologue Shakespeare is able to tell the audience the entire story line without them even watching the play. The line of the prologue beginning A pair of star-crossed lover. tells the audience straight away of the fate of the two characters involved. This set the scene for an inevitable ending whilst warning the audience what to expect, this is also back up throughout the play because as soon as one good thing beings disasters follows closely behind. Using prologues at the beginning of his plays, Shakespeare was able to capture and engage the audiences attention and quieten them down before any of the main characters are introduced. The takes place in the form of a sonnet, this would have contained the classic characteristics of love poetry, this would have been a very successful way to introduce the play because not only would it have captured the audiences attention and quietened them down, but Shakespeare would have used this prologue to give the audience vital information that they would have needed to understand the rest of the play. Shakespeare would have also been able to give the audience some idea of what to expect throughout the rest of the play. This was very effective as it used tight rhythm and rhyme designed to draw the audience in. The prologue at the beginning of Romeo and Juliet beings Two House-holds, both alike in dignity, in fair Verona (where we lay our scene) and continues Whose misadventured piteous overthrows, Do with their death bury their parents strife so in these two short lines Shakespeare has told his audience who the characters are going to be and where the play is set. Romeo and Juliet is set in Verona, Italy. Shakespeare chose this location because in the 16th century, Italy was regarded as a beautiful country, known for it wealth and romance, using these images and scene he had created in his head Shakespeare thought Verona would be the perfect place for extravagant lovers Verona was one of the 4 most important states in Italy. Each of these states has its own ruler; these rulers would have been very competitive, trying to gain superiority over others. Shakespeare used this key theme in the play Romeo and Juliet in the form of the Prince. The Prince would have ruled the state and overseen all activities that take place, this would include quarrelling and feuding between any families that live in the state. Shakespeare picked this up in his version of Romeo and Juliet making the Prince the ruler and the Montagues and the Capulets the two feuding families. Shakespeares Romeo and Juliet was not a piece of William Shakespeares direct work; he had based all the ideas and storylines on a book he had read by Arthur Brooke, entitled The Tragic History and Romeus and Juliet written in 1562. The History of this particular story goes back even further, to a Greek author names Xenophon. Whilst re-writing this particular storyline Shakespeare decided he was writing the play for different reasons to the ones Brook had used. Arthur Brook wrote the poem to warn young people of the dangers of physical attraction Shakespeare wrote his version because he was more interested in considering the validity of true love. Although Shakespeare had copied the story from two other people he had changed it and added pieces to make it his own. For example, Marcutio, Benvolio and the nurse were not featured in Xenophon version or Arthur Brooks version. Shakespeare had to do this because his audience would have known the original storyline and may have thought of Shakespeare as a fake, audiences in this time period would not have held back if they did not like the play they were being shown they would leave and cause havoc in the theatre. Not only did Shakespeare add characters, he added little parts of scenes to give the play more of an impact and reinforce the storyline. For example he added; a street fight, domestic scenes of food preparation, an incident with the musicians, Tybalts challenge to Romeo and the killing of Paris in Act5 scene 3. Act 1, Scene 1 opens with Capulet servants, Sampson and Gregory talking aggressively and violently in a busy market place looking for trouble, and therefore women being the weaker vessels are ever thrust to the wall, therefore I will push Montagues men from the wall, and thrust his maids to the wall. The two servants them speak of the hatred and bitterness between to two families whilst discussing violent and crude images. This section also represents the high-lightered issue of violence, which occurs in different sections of the play. Not only is this section crude and vulgar, it shows how violent these men maybe towards women and man. Its not long before a servant from the Montague family enters the scene, an argument sparks and the two sides are soon shouting at each other. This shows the audience of the loyalty that the servants have towards their households. When the argument/ fight continue the audience are shown that everyone is willing to put their life on the line for the sake of their family name. This is also observed later on in the play when Romeo and Juliet realise for the first time they are from 2 different, arguing families. This argument prepares the audience for other quarrels and brawls further on in the play. What, drawn and talk peace? I hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward this particular dialogue spoken by Tybalt not only reflects the aggressiveness of his personality but tell the audience of the hate and bitterness between the two families. Shortly following these events Benvolio enters, Part, fools! Put up you swords, you know not what you do this shows the audience the peacekeeper in the play, the man that attempts to separate the two families and stop the brewing fight/argument. When this does not work Lord and Lady Capulet enter, followed by Lord and Lady Montague. Both the Capulet and Montague Lords want to join in the fight but are stopped by their wives, who tell them that they are too old. As the wives hold the pair back the Prince enters with his men. The Prince is seen as the figure of authority in the play; the person who controls all problems and is seen as someone who is capable of sorting out any feuding and arguments. He uses this power in a long speech where he talks of past quarrels between the Montagues and the Capulets and how it cannot continue. He does this to tell his audience that these arguments are not a one off thing and happen regularly disrupting the people of Verona. The two families recognise the figure of authority and part, this shows the audience that the Prince is superior to all other characters. The Prince continues, If ever you disturb our streets again, your lives shall pay the forfeit of the peace this is the only time that the Prince is seen as a threatening figure in the play, warning all members of the Capulet and the Montague household that if ever a fight breaks out again someone will pay the price with their life. The Princes language in this section is firm but at the same time, Shakespeare makes sure his audience wont view him as a threat to any of the other characters although he is. The Prince speaks in blank verse, to show he is superior and powerful and emphasises his intelligence. All the characters understand the Princes speech, but Romeo goes on the break the rule and is later banished from Verona although Romeo himself is not present when the fighting breaks out. This separates him from the rest of the characters making him seem detached from the families feuding and willing to carry on with his life without starting trouble every time he sees a member of the Capulet household. The scene continues, the Montagues leave with the Prince and the Capulets are instructed to return to their homes, Montague, Lady Montague and Benvolio are left in the market place, here a conversation takes place about Romeo and how he seems withdrawn from all goings on. Benvolio is asked to investigate into why Romeo is behaving like this and the rest of the Montagues leave. This is the first time the audience are introduced to Romeo when he begins his conversation with Benvolio. This is where the themes of love and passion are brought into the play. With Cupids arrow, she hath Dians wit; And in strong proof of chastity well armed, From Loves weak childish bow she lives uncharmed Romeo is speaking in verse to tell the audience about his love for Rosaline but Benvolio is not convinced that Romeo is actually in love, Romeo complains because the woman he claims to love will not marry nor love him back. Benvolio tells Romeo that other women will come along and he should try hard to forget about her, Romeo listens to this although really he is not convinced. Romeo uses and elaborate way of speaking Why then, O brawling love, O loving hate, O any thing of nothing first create! but this indicates to the audience his emotions are artificial, not coming from the heart. The audience would now know that Romeo is truly infatuated with Rosalind and that it was not just a fling or something he wasnt taking seriously. Throughout Romeos long speech to Benvolio he uses many oxymorons to emphasise what he thinks he is feeling. Loving hate and cold fire are perfect examples of when Romeo confuses himself with the overwhelming emotions he claims to have. The line love sickness, indicates to the audience that Romeo is almost infected with love for Rosaline and this may not be such a good thing. This would be showing the audience that love can to do terrible things to normal people, confusing the mind and turning and normal life chaotic. The light and Dark imagery is shown in the speech between Benvolio and Romeo but this is not mentioned until the audience is introduced to Juliet, Juliet is seen to be the light and Rosaline is seen to be the darkness that fills and confuses Romeos heart. This is where Shakespeare cleverly uses imagery to represent the two female characters in Romeos point of view. The other themes are continued throughout the play, from when Romeo and Juliet meet to when the both die together in the chapel of rest, where Juliets body has been placed. The theme of love however is resisted in Act 1 scene 5, when Romeo and Juliet fall in love and know they shouldnt. The idea of courtly love is present through most of this scene, although Romeo and Juliet are not experiences this, the theme and ides is the same. The idea of courtly love originally came from a European tradition from the middle ages but still known in Elizabethan times. This was basically a set of rules/ expectations of people who fall in love. These rules stated a number of things this included her coldness inflames the passion. He is consumed with melancholy and makes up verses about love this is present in Romeo and Juliet towards the end when Romeo is desperate to see Juliet and in his last hours makes up several verses to calm himself and prepare himself to meet his wife, Juliet in heaven. The idea of marriage also originated in Europe and is also present in the play, this theme is only mentioned by Capulet once, when he is talking to Paris about his arranged marriage to Juliet. Juliet was pleased and honoured to have been asked to marry Paris until she meet Romeo, this is when she began to resent the arranged marriage. Capulet tells Paris the way to win his daughters heart, the themes of love and passion, light and dark and violence are continued throughout. Shakespeare very cleverly uses Act 1 Scene 1 to introduce these theme either through the prologue, what the first characters say or the actions and imagery that are used. Shakespeare was able to take all of this into account and still produce his own version of Brooks poem The Tragic History and Romeus and Juliet.

An analysis of The Communist Manifesto

An analysis of The Communist Manifesto Karl Marx was born in the early 19th century in Germany, where he received his degree in law and philosophy. Shortly after completing university, with his ever growing anti-bourgeois sentiment (Zott, 2006) he found he could no longer believe in the German education system. He turned to journalism where he developed his radical ideas, ultimately he was forced out of Germany, and he soon enthused onto further developing his studies. Marx met his long life friend Fredrick Engels who both had published significant work that questioned the existing European socio-economic system. Fredrick himself observed firsthand the exploitation of blue collar workers under the ruling class in factories, as his father sent him to represent their family in its textile business. Upon meeting in 1844 both found common ground in one and others studies, they began to develop their intellectual partnership, and they came about writing The Communist Manifesto in 1848. Karl Marx is generally considered the pri me writer, though some would say it is difficult to underpin where Marx work begins and where Engels work ends. The political manuscript was written at a time of political upheaval, where they witnessed revolutions, coups and rebellions. Marx was present during the European revolutions of 1848 which started in France. Its 160th anniversary The Communist Manifesto is still relevant till this day, Marx and Engels principles and their ideas of capitalism resemble the restless, anxious and competitive world of 20th century global economy (Cohan, 2000). Economists and political scientists note how the manifesto recognized the unstoppable wealth-creating power of capitalism, and predicted it would conquer the world, and warned that this inevitable globalization of national economies and cultures would have divisive and painful consequences (Zott, 2006) which is indicative of the texts relevance. Summary of main ideas The central premise of The Communist Manifesto can be deduced from Marxs famous generalization The history of all hitherto existing societies is the history of class struggle (Marx and Engels,1848) in which essentially Marx is stating that class is the defining feature of the modern industrial society. While the modern society has sprouted from the ruins of feudal society this has not done away with the clash antagonisms.'(Marx and Engels, 1848) Marx is arguing that in the earlier periods society was arranged into complicated class structures such as in medieval times there were feudal lords, vassals, guild-masters, journeymen, apprentices and serfs. For Marx, he believed class struggle still exists but in this epoch modern class antagonism has become simplified into two classes, the bourgeoisie as the oppressor and proletariat as the oppressed who are in constant opposition to each other. The manifesto then goes on to state the characteristics of both classes, which is marked by an exploitative relationship between the bourgeoisie and the proletarians. The bourgeoisie are the product of several revolutions, the owners of the means of production who have gained momentum with the age of exploration. Marx describes the proletarians as a class of labourers, who live only so long as they find work, and who find work only so long as their labour increases capital (Marx and Engels,1848) proletarians are essentially reduced to becoming a commodity. Marx then proceeds to argue that the division of labour has exploited proletarians where they have been stripped of their identity due to the advent of extensive machinery and so man becomes an appendage of the machine. The workers are powerless to change their circumstance and as the repulsiveness of the work increases, the wage decreases. This system of oppression is sustained by institutions such as the education system (which i s part of the superstructure) which reinforces ruling class values. For example, the concept of a hidden curriculum (Blacks Academy, 2010) in educational establishments, whereby everything is designed to prepare students for the future status as a powerless worker. The education institution is designed to benefit the bourgeoisie and uphold the capitalist system, i.e. the hidden curriculum. Marx then discusses how the development of the industry has increased the proletarians strength, the growing competition among the bourgeois, and the resulting commercial crises, make the wages of the workers ever more fluctuating (Marx and Engels 1848). As theres more of them they are strong enough to unite and voice their struggles over reduced wages. By forming trade unions they stick together to demand to keep up the rate of wages. Marx further argues the larger the union the bigger chance of them changing the system workers are victorious. Although their struggle for equality doesnt lie in the short term effect; it lies in the ever-expanding union of the workers. However, the bourgeoisie try to split the proletarians so they are not united and cannot revolt, as a revolution is the only way in which their circumstances can be changed. This can be substantiated by the fact that Marx says continually being upset by competition between the workers. Marx also describes the process of domination, in that to oppress a class, certain conditions of its slavish existence need to exist, and the essential condition for the existence, and for the sway of the bourgeois class, is the formation and augmentation of capital. (Marx and Engels, 1848) Criticisms The fall of the bourgeoisie and the victory of the proletariat are equally inevitable (Marx and Engels, 1848). Despite Marx and Engels principles and ideas that the proletarians will overthrow the bourgeoisie, a century on and yet workers in the UK and other industrial societies have not eradicate and revolted against capitalism. Ralf Dahrendorfs studies point out why the Marxist revolution hasnt come about over the 20th century. In 1959 Dahrendorf pointed out four reasons why. The first one was The fragmentation of the capitalist class (Dahrendorf: 2005) he suggested that previously the means of productions would typically be owned privately by families, now in the 20th century companies and property are greatly owned by stockholders. Secondly, white collar work and a rising standard of living (Dahrendorf, 2005) has transformed Marxs industrial proletariat. Workers in Marxs time laboured either on farms or in factories. They had blue collar or manual occupations; lower standing jobs involving mostly physical labour. Today they hold white collar occupation, higher-prestige work involving mostly mental activity for instance job roles of such; sales, management, and bureaucratic organisations. However, they still perform monotonous tasks like the industrial workers in Marx time, but evidence indicates that these workers see their positions higher than those of their grandparents who led blue collars lifestyles. Thirdly, a more extensive worker organisation ex ists in which workers have organisational strengths, which they were deficient in a century ago. They have Trade unions where they come together and make demands backed with intimidation of working to rule and the relationship between labour and management are usually institutionalised and peaceful. Finally, more extensive legal protections have been more supportive to protect workers rights and has given workers better access to the courts. Dahrendorf also states that regardless of persistent stratification, many societies have smoothed out some of capitalisms rough edges-and social conflict today maybe less intense than it was a century ago. (Dahrendorf, 2005) Whats more, he argues that despite Marx having witnessed the augmentation of the mass press in his time, however he could hardly have predicted what a major impact media forms would have on us. The Growth of music, mass film, and mediated society has allowed us to amuse ourselves to death and become media-saturated with entertainment which has led people to lose their critical edge for thinking about the nature of their class positions. (Postman, 1986) Max Weber also criticised some of Marxs ideas. In particular, he considered Marxs model of two social classes as too simple. Weber viewed social stratification as a more complex interplay of three district dimensions (Weber, 2005) the dimensions being; class, status and power. Marx believed that social status and power derived from economic position therefore he didnt find any reason to see it as district dimensions of social inequality. Weber opposed, as he recognised that stratification in industrial societies does have characteristically low status uniformity, individuals may have high rank on one dimension of society but a lesser position to another, for example, an bureaucratic official, may have power but in another dimension in society have little wealth. Analysis In spite of all the criticisms aimed at Marx and his work, the communist manifesto remains an extremely influential piece of literature and as a foundation for society. His ideas have lent inspiration to revolutions, coups and political systems, but sadly they have not been sustained, for example the collapse of the Union of Soviet Socialist Republics. The USSR was based on a communist system, yet it failed and capitalism moved into the vacuum. (BBC News, 2010)

Americanization of the Australian Media Essay -- miscellaneous

Americanization of the Australian Media The Australian television and media have become americanised through the influence of American media and television programs in Australia. This research will only concentrate on the extent of Americanisation in Australia through the influence on television and the film industry as the aspect of Americanisation covers a wide range from fashion to language. To fully understand the topic of the hypothesis, proper exploration of the definitions of ‘identity’ and ‘culture’ are of relevance. ‘Identity’ and ‘culture’ play an integral role in what an Australian represents as well as how the world views Australians. The meaning of ‘identity’ can be summarized as; ‘The collective aspect of the set of characteristics by which a thing is definitively recognizable or known’ as well as ‘the set of behavioral or personal characteristics by which an individual is recognizable as a member of a group’ (Meriam-Webster 2003). Culture one the other hand, can be simply coined as ‘the way of life’, language and traditions that are common amongst a group of people (Meriam-Webster 2003). The Australian identity and culture is something that is unique and exclusive to its people, word like ‘barby’, ‘g’day mate’ and ‘tinnies’ immediately refers to Australia. Australians pride themselves as hard-working, humourous and jovial people, who love the outdoors and good food. But in recent times we notice that Australians, are not being ‘Australian’ enough. Gone are the days where men wore rabbit-fur and trusty leather work-shoes. New York Yankees caps worn backwards and polished white Adidas Superstar sneakers coupled with denims worn below the hips instead have replaced these. Ten years ago, the mentioned situation could only exist in the United States of America. Today we see it happening in almost all major cities and suburbs in Australia (Mengel 2001, pers. comm., 11 Aug) Throughout the years, we have heard the term Americanisation frequently invoked but seldom defined. Originally, ‘Americanisation’ was the label used to define the assimilation of immigrants and other minorities seeking citizenship in the United States of. In most cases, ‘Americanisation’ was defined broadly as ‘The process by which an alien acquires our language, citizenship, customs and ideas’. (Bell & Bell, 1998:2) The overall term ‘Americanisation’ is most of t... ...sed, as cultural absorbtion not necessarily means that America is exerting dominance over Australia. A somewhat fairer comment on Americanisation would be,â€Å"What’s new about American culture invading Australia? Nothing. Australia might look, absorb, then move on to its own beat† (Mengel 2001, pers. comm. 11 Aug.) According to Mengel, this may be exactly what Australia along with the rest of the world is experiencing. There is no doubt that USA has managed to spread just about everything from fashion to fast food to hip-hop music throughout the world creating a popular culture. Australians may enjoy and appreciate this popular culture, but this by no means making them any less Australian (people still prefer watching cricket to professional wrestling e.g. WWE Smackdown) (Bennett 1999, p.208). An interesting fact is that the USA has its own cultural dilemma, it should be recognized that the US has likewise absorbed diverse cultures and traditions leading to many people to question who or what is a ‘real American’ (Bumbrey S. 1999). The idea of Americanisation should not be ignored but rather regarded as part of the cultural assimilation of the world leading towards globalization.

Rubin? Yes! Yes! Yes! Essay -- Essays Papers

The vulgar and refreshing paraphrase of a simplified hippy version of what shall be taken as topic: We are so oppressed. Maybe we are not repressed, but come on. We are so oppressed. Malcolm X knew it, Catharine MacKinnon knew it. Everyone knows it. One way we are oppressed is sexually. We might not just be repressed, while we still clearly are because there are laws and things. But, come on. Even if sexuality is socially constructed, it’s still very material, it is out there as much as anything - words are actions too. Gayle Rubin’s Thinking Sex considers the political history of sex regulation, its current form, and a bit of theory about sexuality and its discourses. At the very apex of the flow of the article towards freedom in sexual practice, she draws the line at consent, straining out bad sex from good sex on the line in the sand of what is agreed to and what is not. Rubin’s piece fails to take seriously the History of Sexuality that she relies on for her rejection of political regulations about sexuality, and thus ends up advocating the consent limitation that recapitulates all the problems and fancies she finds in sexual legislation. Rubin bemoans the oppressive laws that tell people what sexual practices are to be accepted and unaccepted, as if laws were to be obeyed - a presumption that already constitutes a particular type of subject in relation to a kind of power (the power of/in Law). Because we are so oppressed, unable to choose between sexual practices, we should give up these overrated relics of good sexuality and bad. Instead let everyone do anything, so long as they practice the vaunted ritual of consent. And while consent may be hard to locate, and does have problems, it should still b... ...it in the settled form Rubin’s partial agenda of consent relies on for its humanist restraints, as if recapitulating prevalent representations of the control of nuclear weapons - on a hair trigger, under control, mutually assured, and yet therefore also for these assurances mutually constitutive on the other side of the trigger and self-deploying in their fluxes of power and selves. Sexuality can be much more exciting for â€Å"bodies and pleasures† (Foucault 157) than this half-hearted effort lets itself argue. Why respond to a demand for bread with the offer to let them eat consent? WORKS CITED Foucault, Michel. The History of Sexuality: Volume One. Vintage Books: New York, 1978. Rubin, Gayle. â€Å"Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality.† in Pleasure and Danger: Exploring Female Sexuality. ed. Vance, Carole. Pandora: London, 1992.

Key Skill Essay

Ensure your work is accurate and clear and is saved appropriately  You need to have achieved Key Skills 9 and 10. In addition your teacher needs to have verified that the work is both accurate and clear. This means they need to have supplied a written statement saying that the work is accurate. They cannot do this is there are any mistakes so check the work clearly. Advantages and Disadvantages of using ICT for this task  Demonstrate knowledge of how IT can help you in your work and be able to compare your use of IT with other methods  You need to write about how IT helped you to produce your presentation. This might include spell-check making sure that the words were spelt correctly, or the use of cut and paste to move objects around the page to try out different layouts.  The second part of this Key Skill needs you to write about how else you might have done this presentation. You need to compare creating computer generated presentation with another method – maybe using a pen and pencil. The advantages and disadvantages of using IT  You need to list at least two advantages and two disadvantage of using IT to write the story. Example You might have used a pen and paper. What are the advantages and disadvantages of using a pen and paper to write the story against using a computer?  You must make sure that you have covered both the advantages and the disadvantages. Example  Disadvantages might include cost of hardware software and peripherals or time spent learning how to use the programs needed to search, find and use information  The Importance of Copyright and Confidentiality  When it is necessary to observe copyright or confidentiality  You need to write a few lines about copyright – what it is and how it affects you and the pictures you have found on the internet and CD/Clipart. You can present screen shots from the site showing copyright information or copies of emails sent and receiving permission to use graphics, text and photographs You can write about confidentiality – what it is and how it does/does not affect you. You could refer to the lack of personal information and the fact that the Data Protection Act (1998) does not affect you.  Example  You have not used pictures of yourself or other young people which could identify them  Error Handling and Virus Protection  How to identify errors and their causes You will need to show, using screenshots, of errors and how to solve them. This can show the use of the office assistant, or searching for a web page that returns a not known error. It could be a picture of the spell check – identifying a spelling error. How to minimise risks from viruses  You will need to provide a description of how to avoid getting viruses from floppy disks or from Internet downloads, including the purpose and use of virus checkers and how they prevent and remove a virus.  A couple of paragraphs are all that is required. Health and Safety Matters Work safely and take care of equipment, avoid losing information and know how to get help when dealing with errors  You will need to write a paragraph about:  Taking care of equipment e.g. storage of disks:  You must not put your disks near a magnet as this will delete the content, not throwing them around  Avoiding loss of information e.g. use of AutoSave or backup. Saving information onto disks as well as the account at school  Obtaining help e.g. on-line help, telephone support or teacher assistance.   I could not work out how to adjust the margins so I used the online help (screenshots here†¦Ã¢â‚¬ ¦)  You need to show (through screenshots) that you have backed up your files. How to work safely and minimise health risks  You need to write a short paragraph about two health and two safety risks involved in using computers.  You may write about the use of anti-glare screens and taking a break from using the computer to rest your eyes or wrists. You may write about repetitive strain injuries from not having the correct keyboard and backache from not having the correct chair. Think about the rules in your computer room – not drinking in a computer room, trailing cables or bags in the aisle.

Kenney’s Inaugural Address Rhetorical Analysis Essay

John F. Kennedy’s inaugural address in January 20, 1961 was a good representation of the enormous amount of things that were taking place in that setting. Kennedy’s inaugural address enlightened America and the world on his goals for his presidency; within his speech he used a form of comparing and contrasting, repetition, and exposition. Applying these helps Kennedy’s address inspire his audience. Kennedy takes advantage of one of his most prominent strategies, repetition, to emphasize his various points. To drive in the idea of change, Kennedy repeats words like, â€Å"to those† or â€Å"to our†. Those phrases formally address the old allies, new states, or the sister republics to show respect to them and to also cause each area feel special. By specifically addressing them for the one line, it gives them acknowledgement, which places Kennedy on their good side; also making the respective audiences listen up, like a call to attention. Relating to his main goal of world peace, this strategy elaborates on the definition of â€Å"world† by noticing the spots across the globe. â€Å"Let both sides† repeats because Kennedy wants to expand the peace part of his goal. For example, Kennedy utilization of â€Å"both† elaborates the unity that he strives for, and the word â€Å"sides† refers to sides of the world and sides of â€Å"problems which divide us†. With positive change and willingness in his tone, Kennedy invites them to join him. The section states the steps of what they need to do and the positive effects that could come from their unity or the negative consequences that might evolve if the world didn’t form an alliance. Within his repetition were statements that juxtapose positive and negatives ideas of how he will execute his goals, Kennedy’s address conveys his objectives for the future to his audience. His main goal is to get â€Å"both sides begin anew the quest for peace†¦Ã¢â‚¬  Kennedy starts off with an idea of positive hope, expressing this by utilizing words like: good, pledge, assist, free, and then â€Å"casting off the chains of poverty†. Those positive words convey Kennedy’s goal to keep peace with the sister republics of the south, relating to his goal of striving for world peace. However, he then introduces the negative, which comes as a warning. The diction changes and the tone quickly go from conciliatory to authoritative, †Ã¢â‚¬ ¦in a new alliance for progress-to assist men and free government in casting off the chains of poverty. But this peaceful revolution of hope cannot become prey to hostile powers.† Because Kennedy doesn’t believe striving for world peace defines as weak, he provides a warning meanwhile, showing that America still will remain a world power. â€Å"But we shall always hope to find them strongly supporting their own freedom†¦Ã¢â‚¬  To his audience, he warns them â€Å"to remember that, in the past, those who foolishly sought power by riding the back of the tiger ended up inside.† From this, the audience can see Kennedy’s goals and his standards for the America future as well as the future for upcoming states and those who will be their ally. The importance of making sure the audience knows Kennedy will not be a weak president, benefits Kennedy because everyone knows a leader of a nation should never be known as weak. In addition to positive and negative statements, Kennedy employs exposition, or logic. Without logic and reasoning, his address wouldn’t be as inspiring. Kennedy employs exposition to tell America why we can succeed and why we should try to succeed. He remarks, â€Å"In your hands† to indicate that America has the power to change and that â€Å"the final success or failure of our course† rests in America’s hands more than the Kennedy’s hands. The remarks stand as a representation of teamwork and coming together to achieve Kennedy’s goal of world peace. Kennedy also observes that striving for freedom is in America’s history, therefore is another reason for America to help out with Kennedy’s goals. â€Å"Since this country was founded, each generation of Americans has been summoned to give testimony to its national loyalty. The graves of young Americans who answered the call to service surround the globe.† This gives another fact to the audience, particularly that Americans should help since we are proud of our heritage. To explain that we have responsibility, Kennedy claims that â€Å"the trumpet summons us again† and with our power, we should take that responsibility and fight â€Å"the common enemies of man.† Kennedy implements smart wording like â€Å"trumpet† because it’s usually associated with nobility; and words like enemies, struggle, and graves to indicate negative consequences or ideas that America needs to fight. Then Kennedy puts even more responsibility on Americans by stating, â€Å"only a few generations have been granted the role of defending freedom† and asking America if they will make history by joining him. Since Kennedy has a position of power and influence, he states that he welcomes the responsibility and he advises other to welcome it, putting more pressure for America to join his change. Kennedy’s address effectively showed his passion for achieving world peace and that he wants the world to join him by employing repetition, juxtaposition, and exposition.

Night World : Secret Vampire Chapter 14

â€Å"YOU see,I like James,† Ash said. â€Å"I think he'sa little soft on vermin, but I don't want to seehim in trouble. I certainly don't want to see him dead.† Poppy felt the way she had last night when herbody was starving for air. She was frozen, too stillto breathe. â€Å"I mean, do youwant him dead?† Ash asked, as ifit were the most reasonable question in the world.Poppy shook her head. â€Å"Well, then,† Ash said. Poppy got a breath at last. â€Å"What are you saying?†Then, without waiting for him to answer, she said, â€Å"You're saying that they're going to kill him if theyfind out about me. But they don't haveto find out about me. Unless you tell them.† Ash glanced at his fingernails thoughtfully.. Hemade a face to show that this was as painful for himas it was for her. â€Å"Let's go over the facts,† he said. â€Å"You are, in fact,a former human.† â€Å"Oh, yeah, I was a vermin, all right.† He gave her a droll look. â€Å"Don't take that so seriously. It's what you are now that counts. But Jamesdid, in fact, change you without clearing it with anybody.Right? And he did, in fact, break cover and tellyou about the Night World before you werechanged. Right?† â€Å"How do you know? Maybe he just changed mewithout telling me a thing.† He shook a finger. â€Å"Ah, but James wouldn't dothat. He's got these radical permissive ideas abouthumans having free will.† â€Å"If you know all about it, why ask me?† Poppysaid tensely. â€Å"And if you've got a point-â€Å" â€Å"The point is that he's committed at least two capital offenses. Three, I bet.† He flashed the wild, handsome smile again. â€Å"He must have been in love withyou to have done the rest.† Something swelled in Poppy like a bird trapped inher rib cage and trying to get out. She blurted, â€Å"I don't see how you people can make laws about not falling in love! It's insane.† â€Å"But don't you see why? You're the perfect example. Because of love, James told you and then hechanged you. If he'd had the sense to squash hisfeelings for you in the beginning, the whole thingwould have been nipped in the bud.† â€Å"But what if you can'tsquash it? You can't forcepeople to stop feeling.† â€Å"Of course not,† Ash said, and Poppy stoppeddead. She stared at him. His lips curved and he beckoned to her. â€Å"I'll tellyou a secret. The Elders know they can't really legis late how you feel. What they can do is terrorize youso that you don't dare show your feelings-ideally, so you can't even admit them to yourself.† Poppy settled back. She'd seldom felt so at a loss.Talking to Ash made her head whirl, made her feel as if she were too young and stupid to. be sure of anything. She made a forlorn and helpless gesture. â€Å"Butwhat do I do now? I can't change thepast†¦.† â€Å"No, but you can act in the present.† He jumpedto his feet in a lovely, graceful motion and beganpacing. â€Å"Now. We have to think fast. Presumably everyone here thinks you're dead.† â€Å"Yes, but-â€Å" â€Å"So the answer is simple. You have to get out of jthe area and stay out. Go someplace where youwon't be recognized, where nobody will care ifyou're new or illegal. Witches. That's it! I've got some cross-cousins in Las Vegas that will put you up. Themain thing is to leave now.† Poppy's head wasn't just whirling, it was reeling.She felt dizzy and physically sick, as if she'd juststepped off Space Mountain at Disneyland. â€Å"What? Idon't even understand what you're talking about,†she said feebly. â€Å"‘I'll explain on the way. Come on, hurry! Do youhave some clothes you want to take?† poppy planted her feet solidly on the floor. Sheshook her head to try and dear it. â€Å"Look, I don'tknow what you're saying, but I can't go anywhereright now. I have to wait for James.† â€Å"But don't you see?† Ash stopped his whirlwindpacing and rounded on her. His eyes were green andhypnotically brilliant. â€Å"That's just what you can't do. James can't even know where you're going.† , what?† â€Å"Don't you see?†Ash said again. He spread hishands and spoke almost pityingly. â€Å"You'rethe only thing putting James in danger. As long as you're here, anybody can look at you and put the piecestogether. You're circumstantial evidence that he's committed a crime.† Poppy understood that. â€Å"But I can just wait and James can go away with me. He would wantthat.† â€Å"But it wouldn't work,† Ash said softly. â€Å"It doesn'tmatter where you go; whenever you're together,you're a danger to him. One look at you and anydecent vampire can sense the truth.† Poppy's knees felt weak. Ash spoke soberly. â€Å"I'm not saying that you'll bemuch safer yourself if you leave. You bring your owndanger with you, because of what you are. But aslong as you're away from James, nobody can connect you with him. It's the only way to keep him safe. Do you see?† â€Å"Yes. Yes, I see that now.† The ground seemed tohave disappeared beneath Poppy. She wasfalling,not into music, but into an icy dark void. There wasnothing to hold on to. â€Å"But, of course, it's a lot to expect, to ask you togive him up. You may not want to make that kindof sacrifice-â€Å" Poppy's chin came up. She was blind and empty and giddy, but she spoke to Ash with utter contempt,spitting out the words. â€Å"After everything he sacrificedfor me? What do you think I am?† Ash bowed his head. â€Å"You're a brave one, littledreamer. I can't believe you were ever human.† Then he looked up and spoke briskly. â€Å"So do youwant to pack?† â€Å"I don't have much,† Poppy said, slowly, becausemoving and speaking hurt her. She walked towardthe bedroom as if the floor was covered with broken glass. â€Å"Hardly anything. But I have to write a notefor James.† â€Å"No, no,† Ash said. â€Å"That's the last thing you wantto do. Well, after all,† he added as she swiveledslowly to look at him, â€Å"James being so noble andlovestruck and everything-if you let him knowwhere you're going, he'll come right after you. Andthen where will you be?† Poppy shook her head. â€Å"I†¦ okay.† Still shakingher head, she stumbled into the bedroom.She wasn't going to argue with him anymore, but she wasn't going to take his advice, either. She shut the bedroom door and tried as hard as she could toshield her mind. She visualized a stone wall around her thoughts. Stuffing her sweat pants and T-shirt and whitedress into the duffel bag took thirty seconds. Thenshe found a book under the nightstand and a felt-tippen in the drawer. She tore the flyleaf out of thebook and scribbled rapidly. Dear James, I'm so sorry, but if I stay to explain this to you, I know you'll try to stop me. Ash has made me understand the truth-that as long as I stick around I'mputting your life in danger. And I just can't do that.If something happened to you because of me, I woulddie. I really would. I'm going away now. Ash is taking me somewherefar away where you won't findme. Where they won'tcare what I am. I'll be safe there. You'll be safe here.And even if we're not together, we'll never really beapart. I love you. I'll love you forever. But I have to dothis. Please tell Phil goodbye. Your soulmate, Poppy. She was dripping tears onto the paper as shesigned it.She put the flyleaf on the pillow and went outto Ash. â€Å"Oh, there, there,† he said. â€Å"Don't cry. You'redoing the right thing.† He put an arm around hershoulders. Poppy was too miserable to shrug it off. She looked at him. â€Å"One thing. Won't I be putting youin danger if I go with you? I mean, somebodymight think youwere the one who made me an ille gal vampire.† He looked at her with wide, earnest eyes. They happened to be blue-violet at the moment. â€Å"I'm willing to take that risk,† he said. â€Å"I have alot of respect for you.† James took the stairs two at a time, sending probing thoughts ahead of him and then refusing to believe what his own senses told him. She had to be there. She hadto be†¦. He pounded on the door at the same time as hewas thrusting the key into' the lock. At the same timeas he was shouting mentally. Poppy! Poppy, answer me! Poppy! And then, even with the door flung open and hisown thoughts ricocheting off the emptiness in theapartment, he stilldidn't want to believe. He ran around, looking in every room, his heart thudding louder and louder in his chest. Her duffel bag was gone. Her clothes were gone. She was gone. He ended up leaning against the glass of the livingroom window. He could see the street below, andthere was no sign of Poppy. No sign of Ash, either. It was James's fault. He'd been following his mother's trail all afternoon, from decorating job to decorating job, trying to catch up with her. Only to find,once he did catch up, that Ash was already in Elcamino, and had, in fact, been sent over to James'sapartment hours ago. With a key. putting him alone with Poppy. James had called the apartment immediately. Noanswer. He'd broken all speed limits getting backhere. But he was too late. Ash, you snake, he thought. If you hurt her, if youput one finger on her †¦ He found himself roving over the apartment again,looking for clues as to what had happened. Then, in the bedroom, he noticed something pale against the light brown of the pillowcase. A note. He snatched it up and read it. And gotcolder and colder with every line. By the time he reached the end, he was made of ice and ready tokill. There were little round splashes where the felt-tippen had run. Tears. He was going to break one of Ash's bones for each one. He folded the note carefully and put it in hispocket. Then he took a few things from his closetand made a call on his cellular phone as he was walking down the stairs of the apartment building. â€Å"Mom, it's me,† he said at the beep of an answering machine. â€Å"I'm going to be gone for a few days. Something's come up. If you see Ash, leave me amessage. I want to talk with him.† He didn't say please. He knew his voice was clippedand sharp. And he didn't care. He hoped his tone would scare her. Just at the moment he felt ready to take on hismother and father and all the vampire Elders in theNight World. One stake for all of them. He wasn't a child anymore. In the last week he'dbeen through the crucible. He'd faced death andfound love. He was an adult. And filled with a quiet fury that would destroyeverything in its path. Everything necessary to getto Poppy. He made other phone calls as he guided the Integraswiftly and expertly through the streets of El Camino.He called the Black Iris and made sure that Ashhadn't turned up there. He called several other blackflower dubs, even though he didn't expect to find anything. Poppy had said Ash was going to take her far away. But where? Damn you, Ash, he thought. Where? Phil was staring at the TV without really seeing it.How could he be interested in talk shows or infomercialswhen all he couldthinkabout was his sister?His sister who was maybe watching the same showsand maybe out biting people? He heard the car screech to a stop outside and wason his feet before he knew it. Weird how he wasabsolutely certain of who it was. He must have cometo recognize the Integra's engine. He opened the door as James reached the porch.†What's up?† â€Å"Come on.† James was already heading for the car.There wasa deadly energy in his movements, abarely controlled power, that Phil had never seen before. White-hot fury, leashed but straining. â€Å"What's wrong?† James turned at the driver's side door. â€Å"Poppy'smissing!† Phil threw a wild glance around. There was nobodyon the street, but the door to the house was open.And James was shouting as if he didn't care whoheard. Then the words sank in. â€Å"What do you mean,she's-† Phil broke off and jerked the door to thehouse shut. Then he went to the Integra. James already had the passenger door open. â€Å"What do you mean, she's missing?† Phil said assoon as he was in the car. James gunned the engine. â€Å"My cousin Ash has taken her someplace.† â€Å"Who's Ash?† â€Å"He's dead,† James said, and somehow Phillip knew he didn't mean Ash was one of the walkingdead. He meant Ash was going to bedead, completelydead, at some point very soon. â€Å"Well, where's he taken her?† â€Å"I don't know,† James said through his teeth. â€Å"Ihave no idea.† Phil stared a moment, then said, â€Å"Okay. Okay.† He didn't understand what was going on, but hecould see one thing. James was too angry and toointent on revenge to think logically. He might seem rational, but it was stupid to drive around at fifty five miles an hour through a residential zone with no idea of where to go. It was strange that Phil felt comparatively calmit seemed as if he'd spent the last week being wacko while James played the cool part. But having someone else be hysterical always made Phil golevelheaded. â€Å"Okay, look,† he said. â€Å"Let's take this one step ata time. Slow down, okay? We might be going in exactly the wrong direction.† At that, James eased up on the gas pedal slightly. â€Å"Okay, now tell me about Ash. Why's he taking Poppy somewhere? Did he kidnap her?† â€Å"No. He talked her into it. He convinced her thatit was dangerous for me if she stuck around here. Itwas the one thing guaranteed to make her go withhim.† One hand on the wheel, James fished in his pocket and handed a folded piece of paper to Phil. It was a page torn out of a book. Phillip read thenote and swallowed. He glanced at James, who wasstaring straight ahead at the road. Phil shifted, embarrassed at having intruded on private territory, embarrassed at the sting in his eyes. Your soulmate, Poppy?Well. Well. â€Å"She loves you a lot,† he said finally, awkwardly.†And I'm glad she said goodbye to me.† He folded the note carefully and tucked it under the emergency brake handle. James picked it up and put it in hispocket again. â€Å"Ash used her feelings to get her away. Nobodycan push buttons and pull strings like he can.† â€Å"But why would he want to?† â€Å"First because he likes girls. He's a realDon Juan.†James glanced at Phil caustically. â€Å"And now he's gother alone. And second because he likes to play withthings. Like a cat with a mouse. He'll fool around with her for a while, and then when he gets tired ofher, he'll hand her over.† Phillip went still. â€Å"Who to?† â€Å"The Elders. Somebody in charge somewherewho'll realize she's a renegade vampire.† â€Å"And then what?† â€Å"And then they kill her.† Phil grabbed the dashboard. â€Å"Wait a minute.You're telling me that a cousin of yours is going tohand Poppy over to be killed?† â€Å"It's the law. Any good vampire would do thesame. My own mother would do it, without a second thought.† His voice was bitter. â€Å"And he's a vampire. Ash,† Phil said stupidly. James gave him a look. â€Å"Allmy cousins are vampires,† he said with a short laugh. Then his expression changed, and he took his foot off the gas. â€Å"What's the-hey, that was a stop sign!† Philyelped. James slammed on the brakes and swung into aU-turn in the middle of the street. He ran over somebody's lawn. â€Å"What is it?† Phil said tightly, still braced againstthe dashboard. James was looking almost dreamy. â€Å"I've just realized where they've gone. Where he'd take her. Hetold her someplace safe, where people wouldn't carewhat she was. But vampires wouldcare.† â€Å"So they're with humans?† â€Å"No. Ash hates humans. He'd want to take hersomeplace in the Night World, someplace where he'sa big man. And the nearest city that's controlled bythe Night World is Las Vegas.† Phil felt his jaw drop. Las Vegas? Controlled by theNight World? He had the sudden impulse to laugh. Sure, of course it would be. â€Å"And I always thoughtit was the Mafia,† he said. â€Å"It is,† James said seriously, swerving onto a freeway on-ramp. â€Å"Just a different mafia.† â€Å"But, look, wait. Las Vegas is a big city.† â€Å"It's not, actually. But it doesn't matter anyway. Iknow where they are. Because all my cousins aren'tvampires. Some of them are witches.† Phil's forehead puckered. â€Å"Oh, yeah? And how didyou arrange that?† â€Å"I didn't. My great-grandparents did, about fourhundred years ago. They did a blood-tie ceremonywith a witchfamily. The witches aren't my realcous ins; they're not related. They're cross-cousins.Adopted family. It probably won't even occur tothem that Poppy might not be legal. And that'swhere Ash would go.† â€Å"They're cross-kin,† Ash told Poppy. They weredriving in the Rasmussen's gold Mercedes, which Ashinsisted his aunt Maddy would want him to take.†They won't be suspicious of you. And witches don'tknow the signs of being a new vampire the way vampires do.† Poppy just stared at the far horizon. It was evening now, and a lowering red sun was setting behind them. All around them was a weird alien landscape: not as brown as Poppy would have expected a desertto be. More gray-green, with clumps of green-gray. The Joshua trees were strangely beautiful, but alsothe closest thing to a plant made up of tentacles as she'd ever seen. Most everything growing had spikes. It was oddly fitting as a place to go into exile. Poppy felt as if she were leaving behind not only herold life, but everything she'd ever foundfamiliarabout the earth. â€Å"I'll take care of you,† Ash said caressingly. Poppy didn't even blink. Phillip first saw Nevada as a line of lights in thedarkness ahead. As they got closer to the state line,the lights resolved into signs with blinking, swarming, flashing neon messages. Whiskey Pete's, they an nounced. Buffalo Bill's. The Prima Donna. Some guy with a reputation for being a Don Juanwas taking Poppy in thisdirection? â€Å"Go faster,† he told James as they left the lightsbehind and entered a dark and featureless desert.†Come on. This car can do ninety.† â€Å"Here we are. Las Vegas,† Ash said as if makingPoppy a present of the whole city. But Poppy didn'tsee a city, only a light in the clouds ahead like the rising moon. Then, as the freeway curved, she sawthat it wasn't the moon, it was the reflection of city lights. Las Vegas was a glittering pool in a flat basinbetween the mountains. Something stirred in Poppy despite herself. She'dalways wanted to see the world. Faraway places. Ex otic lands. And this would have been perfect-if onlyJames had been with her. Up close, though, the city wasn't quite the gem itlooked from a distance. Ash got off the freeway, and Poppy was thrown into a world of color and lightand movement-and of tawdry cheapness. â€Å"The Strip,† Ash announced. â€Å"You know, whereall the casinos are. There's no place like it.† â€Å"I bet,† Poppy said, staring. On one side of her wasa towering black pyramid hotel with a huge sphinxin front. Lasers were flashing out of the sphinx'seyes. On the other side was a sleazy motor inn with a sign saying â€Å"Rooms $18.† â€Å"So this is the Night World,† she said, with a twingeof cynical amusement that made her feel very adult. â€Å"Nah, this is for the tourists,† Ash said. â€Å"But it'sgood business and you can do some fairly seriouspartying. I'll show you the real Night World, though.First, I want to check in with my cousins.† Poppy considered telling him that she didn't reallycare to have himshow her the Night World.Something about Ash's manner was beginning to bother her. He was acting more as if they were out on adate than as if he were escorting her into exile. But he's the only person I know here, she realizedwith a dismayed sinking in her stomach. And it's notas if I have any money or anything–not even eighteen dollars for that crummy motel. There was something worse. She'd been hungry for some time now, and now she was starting to feel breathless. But she wasn't the dazed, unthinking animal she'd been last night. She didn't want to attacksome human on the street. â€Å"This is the place,† Ash said. It was a side street,dark and not crowded like the Strip. He pulled intoan alley. â€Å"Okay, just let me see if they're in.† On either side of them were high buildings withcinder-block walls. Above, tiers of power lines obscuredthe sky. Ash knocked at a door set in the cinder blocka door with no knob on the outside. There was no signon the door, either, just some crudely spray-paintedgraffiti. It was a picture of a black dahlia. Poppy stared at a Dumpster and tried to controlher breathing. In, out. Slow and deep. It's okay,there's air. It may not feel like it, but there's air. The door opened and Ash beckoned to her. â€Å"This is Poppy,† Ash said, putting an arm aroundher as Poppy stumbled inside. The place looked likea shop–a shop with herbs and candles and crystals. And lots of other weird things that Poppy didn't recognize. Witchy-looking supplies. â€Å"And these are my cousins. That's Blaise, andthat's Thea.† Blaise was a striking girl with masses ofdark hair and lots of curves. Thea was slimmer and blond. They both kept going out of focus as Poppy's vision blurred. â€Å"Hi,†she said, the longest greeting she couldmanage. â€Å"Ash, what's wrong with you? She's sick. What have you been doing to her?† Thea was looking atPoppy with sympathetic brown eyes. â€Å"Huh? Nothing,† Ash said, looking surprised, as ifnoticing Poppy's state for the first time. Poppyguessed he wasn't the type to worry about other peo ple's discomfort. â€Å"She's hungry, I guess. We'll haveto run out and feed-â€Å" â€Å"Oh, no, you don't. Not around here. Besides,she's not going to make it,† Thea said. â€Å"Come on,Poppy, I'll be a donor this once.† She took Poppy by the arm and led her through abead curtain into another room. Poppy let herself betowed. She couldn't think anymore-and her wholeupper jaw was aching. Even the word feedsharpenedher teeth. I need†¦I have to †¦ But she didn't know how. She had. a vision of her own face in the mirror, silvery eyes and savage canines. She didn't wantto be an animal again ,and jump on Thea andripher throat. And she couldn'task how-that would give her away as a new vampire for sure. She stood, trembling, unable to move.

Nvq Plevel 3 Playwork

PW3. 12 Assignment 4 5. 1 Explain why it is important to have positive relationships with adults in the play environment It could be argued that playworkers are often naturally skilled and adept at making good relationships with the children in the informal setting of a play environment. Whilst adult relationships may take more time and effort, and thus more difficult to achieve it is essential that they maintain positive relationships with other adults within the play environment.As professional’s playworkers are likely to come in to contact with a range of adults be it parents, carers, elder siblings, other playworkers, or the general network of care and as a result need to be proficient in forming positive relations with such adults. There are a number of reasons why this is important. First and foremost, children always benefit when adults around them are able to collaborate, co-operate and work in tandem. In relation to parents and carers, it is important that playworkers and parents are amiable, and can work together to form a strong support foundation for the child.Not only will the play setting benefit from amicable relations but children will feel that they are supported as a result of the good rapport between parents and playworkers. In addition to this, parents are naturally interested in the happiness and well-being of their child. Through strong and positive relations between parents and playworkers, parents will feel that they are informed about their child’s experiences at the club and involved in this aspect of their life.Another aspect of this mutual relationship is that the parent can inform the play setting if things are difficult at home, that the child worries about certain aspects of the play environment or any difficulties that they are having. Not only will this provide an explanation for potential changes in behaviour, but it allows the playworkers to accommodate the child to make them feel more comfortable or at ease, and generally support them within the play setting.It is through this positive relationship that parents are able to support playworkers and their decisions, and in turn provide a strong team foundation to support the child and their general welfare. In terms of positive relationships with those directly associated to the play environment it is essential that a positive, friendly and supportive relationship occurs between co-workers. One must remember that children are sensitive to the way in which one works with colleagues, and indirectly the relations they see modelled by their elders are those which they in turn will portray.In effect, the attitude and relations of the playworkers act as a blue print upon which they form their own relationships. Essentially, through positive relationships with other adults within the setting, it not only creates a pleasant and fruitful atmosphere but it provides a strong foundation of support – both between playworkers themselves and with par ents and carers. Through good communication and positive relations children are able to feel settled and supported in all aspects of their development. . 2 Explain the importance of clear communications with adults in the play environment In order to develop and maintain positive relationships with adults in the play environment, an element of respect is vital. The key to this is a clear communications style. It is through such a style that both playworkers themselves, and parents feel respected, valued and a part of the play setting. Good communication is a central aspect to playwork, as well as everyday life.It is a skill which not only underpins almost every other social skill but it is particularly important when working with children and young people, and in turn the adults associated with the play environment. Through communicating effectively as playworkers, it encourages positive relationships with the adults and thus results in a proactive and efficient team between both pl ayworker and parent. The importance of this cannot be understated, by having a solid team foundation between playworkers and parents, children will not only feel supported and comfortable, but are aided in their development.The key to attain this solid foundation is through communicating effectively and clearly with the adults associated with the play setting. For example, it is important that parents and carers are aware of any issues that may have arisen during the session, any difficulties their child is encountering, or if their child has behaved or responded particularly well to a certain situation. Essentially, this involves being ‘updated’ on their child’s general behaviour and well-being. The importance of clear communication can be evidenced here.Being vague in ones communications can lead to problems such as misunderstanding, the child being reprimanded for something they didn’t do by parents, or by parents not grasping the full extent of the pro blem. Not only would this affect the support the child would receive, but many could argue that such misinterpretations or misunderstandings could result in conflict between play setting and parent. When considering this from another perspective, effective communication with other team members and playworkers is equally essential.Playworkers need to feel that when asked to do something by another member of the team, or someone of higher position that they are doing as required and desired. In addition to this, they need to maintain and portray a team approach in everything conducted. By communicating roles, responsibilities and issues effectively the team is able to work as a unit and thus provide the best care for the children in the play setting. By supporting the team, communicating effectively and efficiently it ensures that problems are dealt with promptly so as not to impact on the running of the team and the setting.From this it can be noted that clear and effective communica tion not only benefits the playwork team as a whole, but in addition it means that an effective team approach between playworkers and parents can be attained. In doing so, this provides children with the best support possible. 5. 3 Summarise different strategies the playworker can use to communicate with adults who have communication difficulties The way in which one communicates with people should not be static. It is important that the style used is adjusted to meet the needs of both the situation and the person with whom one needs to communicate.In many cases communicating with a range of adults can be challenging, however this becomes more difficult when trying to communicate with those who have communication difficulties. Here, a more precise and patient method is required. There are a number of strategies that can be employed when dealing with those who have communication difficulties. Firstly it is essential that one remains patient, speaks clearly and allows the other person a chance not only to understand what is being said, but then to construct a response.The phrase â€Å"connect before you direct† also comes in to play here; by making eye contact and engaging the other person in conversation not only allows you to form a relationship, but it may be essential for those with communication difficulties. For instance, and adult who has hearing difficulties will need to see mouth movements to understand and will rely heaving on visual signs such as facial expressions. In addition to this, it is important, especially with adults, that one respects their difficulties, not pressuring them or treating them like a child.Achieving this takes practice but in doing so it ensures the other person feels respected, valued and understood. In some cases a more active style of communication may be necessary, such as physically demonstrating what is required by drawing or miming. Another strategy is to employ physical cues such as pictures, objects or photos wh ich the adult can point to or respond with. In doing this, verbal speech is simply an aid, and for those who have difficulties in such an area it provides an external method of communication, and perhaps a better means of understanding.Alternatively, a translator may be required to assist the communication of confusing, difficult or complex issues and conversations. Written word is another strategy which can be employed when dealing with adults who have communication difficulties. For some, written word is easier to process and understand than verbal conversations, and so this provides another means of communicating with those who have communication difficulties. One downside of this method is that those who are not native to the language may struggle to comprehend written style. Utilising the telephone is another option and strategy.Those who suffer communication difficulties may be more aware of themselves in busy, noisy and unknown environments which may impede their ability to u nderstand as well as to respond. By speaking on the phone it allows them to take in the information and construct their sentences in peace, in their own time and in the security that no one external is judging them. From this, it is evident that when communicating with adults who have communication difficulties there are a number of strategies that could be employed. Essentially it involves being understanding, precise and clear.Talking slowly but not in an exaggerated manner and simplifying our extended language abilities allowing them to not only understand what is being asked but at the same time feel respected and valued as an individual and not undermined due to their difficulties. 5. 4 Evaluate types of situations that might lead to conflict between playworkers and other adults Sometimes things go wrong. In any work place there are bound to be situations that arise which will result in conflict of some sort. People react differently to such situations depending on circumstance s, but it is mportant to remember that differences of opinion are not necessarily a bad thing. There are numerous situations that may result in conflict between playworkers and other adults, as with anyone in society. It could be argued that one of the largest contributors to conflict is merely the result of miscommunication. Someone may take a comment the wrong way, not understand the context or may not have had the message properly passed on. As a result of this sour feelings such as resent, confusion or misunderstanding can lead to conflict between adults.In the case of the playwork setting, this could be between two playworkers with one person commenting on what is normally done in a helpful manner, with the other taking it as condescending, patronising or dictatorial. Another example of such a situation would be a playworker telling a parent about the way their child has behaved during the session. If this was not explained properly, or details were left out (such as it being à ¢â‚¬Ëœstarted’ by another child) this could result in conflict between parent, child and playworker.Another effect of miscommunication is conflict due to lack of role explanation. If roles and responsibilities are not clearly and effectively outlined (miscommunicated), this could lead to false expectations from supervisors and thus result in conflict. For example if a supervisor expects a certain playworker to be doing the headcount and this is not achieved, conflict could occur as a result. Typical playwork situations which may cause conflict are about the decisions made or the actions taken by playworkers.If parents do not agree with or support such decisions it can often lead to a conflict over what is expected by the parent, versus what is required and expected from the playworker. Situations such as where a child has been hurt (falling from a swing, or injury from another child), damage to the child’s equipment or clothes, or relations with other children are ofte n the causes of conflict between playworkers and parents or carers. Here the playworker will follow policies and procedures, but the parent may not agree with the action or decision subsequently forming the foundations for conflict.As is often the case, conflict can occur because a person is coping with unrelated pressures. Life stressors, home issues etc may cause either parent or playworker to snap without reason. This can initiate feelings of resent, confusion, or misunderstanding, thus producing a conflict scenario. As evidenced, it can be noted that there are a number of types of situations which may result in conflict between adults in the play setting. Miscommunication, stressors, expectations and even own confidence in handling a situation can result in conflict between the adults within the setting. . 5 Explain different strategies the playworker can use to deal with conflict situations involving other adults. There are a number of strategies that can be employed when deali ng with conflict situations. In many situations simply listening to the other person, attaining all the facts and showing an understanding is enough to dilute the problem. However if this is not the case, then there are other strategies which can be utilised. In many respects dealing with conflict situations with adults requires a similar approach to that of children.If emotions are tense the best way to manage conflict is to listen to the other person, acknowledge their feelings and show empathy and understanding of the issue. In acknowledging another person’s feelings or point of view it can take the heat out of the conflict and thus allow a solution to be found, even if this involves stating â€Å"I can see what you mean, but I can’t agree with you there†. By accepting and acknowledging another person’s feelings, one can then ask them how they wish the issue to be resolved.In asking for their opinion it shows respect and highlights that their opinion i s valued. Much like dealing with children in conflict, those adults in conflict can then work together in order to come to a viable solution for them both. In addition to this when dealing with parents or other playworkers it is important to thank them for bringing the matter to one’s attention and check that the problem is understood fully. Furthermore if you believe there to be a misunderstanding, say so as this may be enough to resolve the conflict.It is important to talk in a private area, listen carefully, make eye contact, ensure that one remains polite and calm and that any apologies are made if necessary. Another important aspect to consider is to avoid personalising the issue (through comments made, or actions taken, or gossiping) as this can lead to it becoming more heated, intense and appear like a personal vendetta. It is best to talk to the person directly before any more misunderstanding or misinterpretation can occur. In order to deal with miscommunications wit hin the work place, one strategy that could be used it to write things down, a record of events.This is particularly relevant for when children are hurt in the play setting. By recording what happened, when and how it ensures that relevant people are provided with correct information that is the same across the board. Dealing with conflict due to confidence is hard. Essentially it is important that the supervisors acknowledge their team’s skills, expertise and value within the playwork team. Conflict due to external pressure is also difficult. By observing other people as they talk to you can sometimes provide an indication of whether other factors are at work.If this is the case, simply being sympathetic and a good listener can often take the heat out of a conflict potentially brewing. Essentially, when dealing with conflict in adults it is similar to the approach taken when dealing with children. It is important that one listens, shows understanding, respects the other pers ons differentiating view points, and that they work together to find a solution suiting to them both. In doing this, not only will it aid the conflict itself, but it almost acts as pre conflict management.