The Great Gatsby Essay Paper Example For Students

The Great Gatsby Essay Paper English Essay The Great Gatsby The primary topic of the novel The Great Gatsby centers around the American Dream and it is depicted through the duration of Jay Gatsby. Through Gatsbys life we see the wilting of the American Dream, a disaster that struck Jays close to completed dream. The American Dream is the thing that many have trusted of accomplishing, it has existed before and is in the present. The American Dream gives individuals an objective that they can progress in the direction of, it additionally gives them a reason throughout everyday life. The American Dream speaks to extravagance and riches it accepts the integrity of the personal satisfaction. For Jay Gatsby, he was so near accomplishing the American Dream. He had the riches and the class, all he required was his tragically deceased love, Daisy. Gatsby really accepted that he could by and by be along with Daisy we see this when he says Cant rehash the past? he cried suspiciously. Why obviously you can (P. 116). Anyway what made the story such a catastrophe was, that Gatsby verged on wining Daisy anyway he was executed by Mr. Wilson which he was simply inches from effectively finishing the American Dream. Previously, just a limited quantity of the American Dream ended up being effective, most have fizzled. Numerous individuals who didn't accomplish the American Dream wound up ending it all or different methods for abandoning life since they accept there was no other reason throughout everyday life. We will compose a custom exposition on The Great Gatsby Paper explicitly for you for just $16.38 $13.9/page Request now Gatsby speak to the American Dream from multiple points of view, so as to achieve his Dream he knew precisely what he wanted, when Jay met Dan Cody at the shore of Lake Superior, Dan demonstrated him a dream of accomplishment a dream of what riches would offer, the fervor of being rich. Jay Gatsby has an aggressive nature, there for he would do anything just to live the American Dream. He began by building a past, he changed his name from James Gatz to Jay Gatsby trying to develop an establishment for his fantasy. He at that point made a picture for Jay Gatsby, a well refined man who was conceived in the west, instructed at oxford and battled in World War I. Gatsby was then ready to achieve a lot of cash working with Meyer Wolfsheim. He at that point purchased a tremendous manor in the West Egg, anyway he would toss unrestrained gatherings in trusting of drawing in his tragically deceased love Daisy, the person who he took part in an extramarital entanglements with before he went to the war. Scratch depicts Gatsbys sentiments about Daisy: He hadnt once stopped taking a gander at Daisy and I feel that he revalued everything in his home as indicated by the proportion of the reaction it drew from her all around adored eyes. Here and there, as well, he gazed around at his assets in a stunned manner like in her real nearness none of it was any more extended genuine. When he even toppled down a stairwell (P.96 97)Daisy means the world to Gatsby, his American Dream is converged with his fantasy about being with Daisy. Without Daisy, Gatsbys American Dream is fragmented. A main consideration that makes Gatsbys American Dream so shocking is that everything appeared to be so flawless first and foremost, for instance we see that he nearly had the ideal life. He had assortments of great vehicles to a pleasant fabulous white manor to accumulations of imported shirts. Scratch Describes Gatsbys parties:Every Friday five cases of oranges and lemons showed up from a fruiter in New York each Monday there same oranges and lemons left his secondary passage in a pyramid of pulpless parts. (P.43)This shows the measure of riches Gatsby had, he tossed parties week after week and the majority of his visitors havent even observed Gatsby. He didnt toss the gatherings to show of his riches, he tossed the gatherings in anticipation of pulling in Daisy. Gatsby required Daisy to finish his life, his fantasy to be with Daisy melded with his American Dream. In any case, unfortunately he needed to bite the dust at such a youthful age, epically when hes so near accomplishing t he American Dream. .uf7e0afd1e90bc4e5e293889a91038331 , .uf7e0afd1e90bc4e5e293889a91038331 .postImageUrl , .uf7e0afd1e90bc4e5e293889a91038331 .focused content region { min-tallness: 80px; position: relative; } .uf7e0afd1e90bc4e5e293889a91038331 , .uf7e0afd1e90bc4e5e293889a91038331:hover , .uf7e0afd1e90bc4e5e293889a91038331:visited , .uf7e0afd1e90bc4e5e293889a91038331:active { border:0!important; } .uf7e0afd1e90bc4e5e293889a91038331 .clearfix:after { content: ; show: table; clear: both; } .uf7e0afd1e90bc4e5e293889a91038331 { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; darkness: 1; change: murkiness 250ms; webkit-change: mistiness 250ms; foundation shading: #95A5A6; } .uf7e0afd1e90bc4e5e293889a91038331:active , .uf7e0afd1e90bc4e5e293889a91038331:hover { haziness: 1; change: obscurity 250ms; webkit-change: haziness 250ms; foundation shading: #2C3E50; } .uf7e0afd1e90bc4e5e293889a91038331 .focused content region { width: 100%; position: relative; } .uf7e0afd1e90bc4e5e293889a91038331 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; text-enhancement: underline; } .uf7e0afd1e90bc4e5e293889a91038331 .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .uf7e0afd1e90bc4e5e293889a91038331 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; outskirt sweep: 3px; box-shadow: none; text dimension: 14px; text style weight: striking; line-stature: 26px; moz-fringe span: 3px; text-adjust: focus; text-beautification: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: supreme; right: 0; top: 0; } .uf7e0afd1e90bc4e5e293889a91038331:hover .ctaButton { foundation shading: #34495E!important; } .uf7e0afd1e90bc4e5e293889a910383 31 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .uf7e0afd1e90bc4e5e293889a91038331-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .uf7e0afd1e90bc4e5e293889a91038331:after { content: ; show: square; clear: both; } READ: Salem Witch Trials EssayGenerally, the American Dream is for the most part accomplished by individuals of the higher

Unit 5 Soil Study Guide Flashcard

Unit 5 Soil Study Guide

The Unnecessary Cost of the War in Iraq Essay Example | Topics and Well Written Essays - 500 words

The Unnecessary Cost of the War in Iraq - Essay Example The Bush organization, alongside the encouraging of then Defense Secretary of resistance Donald Rumsfeld, woefully disparaged the quantity of officers it would require to make sure about Iraq after the underlying attack. Their number of around 125,000 soldiers was dreadfully not many to possess the nation and reestablish request. Paul Bremer, senior regular citizen director in Iraq during the main year of the occupation says he, griped to President Bush and different authorities that extremely not many soldiers were focused on the occupation in the primary year after Saddam Hussein was removed (Shanker, A6). Bremer even composed a proper letter to Secretary Rumsfeld mentioning two extra divisions, yet Bremer battles, he had never heard back from Mr. Rumsfeld (Shanker, A6). The way that the Defense Department would not react to the senior director on the ground in Iraq shows the level of pomposity, if not inadequacy, that has driven our nation into an entanglement of rash choices. The choices made at the White House have brought about the superfluous passings and injuring of huge numbers of our best youngsters and ladies. The loss of life remains at very nearly 2,800 executed and another 10,000 injured so seriously that they will always be unable to come back to deployment ready (Shanker and Cloud, A14).

Definition and Examples of Elocution in English

Definition and Examples of Elocution in English Rhetoric is the specialty of successful open talking, with specific regard for the unmistakable, particular, and socially satisfactory pronunciationâ of words. Descriptive word: elocutionary. In old style talk, conveyance (or actio) and style (or elocutio) were viewed as isolated divisions of the conventional expository procedure. See: logical ordinances. Etymology: From the Latin, articulation, articulation Pronunciation:â e-leh-KYU-shen Likewise Known As: elocutio, style Models and Observations The word address implies something very extraordinary to us from what it intended to the old style rhetorician. We partner the word with the demonstration of talking (subsequently, the address contest)... Be that as it may, for the traditional rhetorician, elocutio implied style. ...Every single explanatory thought of style included some conversation of selection of words, for the most part under such headings as accuracy, purity..., straightforwardness, clearness, suitability, ornateness.Another subject of thought was the piece or plan of words in expressions or provisions (or, to utilize the logical term, time frames). Included here were conversations of right punctuation or collocation of words; examples of sentences (for example parallelism, absolute opposite); appropriate utilization of conjunctions and other associating gadgets both inside the sentence and between sentences...A extraordinary arrangement of consideration was paid, obviously, to tropes and figures.(Edward P.J. Co rbett and Robert J. Connors, Classical Rhetoric for the Modern Student. Oxford University. Press, 1999)​ The Elocutionary MovementVarious factors added to increased enthusiasm for the investigation of oration in both the eighteenth and nineteenth hundreds of years. Various researchers perceived that conventional understudies keen on the service or the bar were missing viable talking aptitudes, and endeavors were made to defeat these insufficiencies. Starting in England and proceeding in the United States, address turned into the fundamental focal point of talk during this time. . . .In examining rhetoric, understudies were fundamentally worried about four things: substantial signals, voice the board, articulation, and vocal creation (the genuine development of the hints of discourse). (Brenda Gabioud Brown, Elocution. Reference book of Rhetoric and Composition: Communication From Ancient Times to the Information Age, ed. by Theresa Enos. Taylor Francis, 1996)The Principal Parts of ElocutionElocution (elocutio) . . . is the best possible work of the proper words (idonea verba) and consid erations (idoneae sententiae) appropriate to the things developed and orchestrated (res inventae et dispositae).Its chief parts are polish, poise, and organization . . .. Tastefulness is detected most much of the time in words and contemplations; nobility in the splendor of the figures of words and musings . . .; and structure in the joining of words, in the period, and in the mood. (Giambattista Vico, The Art of Rhetoric (Institutiones Oratoriae), 1711-1741, trans. G. A. Pinton and A. W. Shippee, 1996)The away from of isolated words and their elements.The only articulation of the feeling of words in associated discourse.Appropriate signal, appreciating under this head the disposition, movements, and part of face generally appropriate to loan activity and power to discourse. The Requisites of a Good DeliveryElocution is the craft of conveying composed or communicated in language in the manner in which best determined to communicate the sense, excellence, or power of the words utilized by the speaker.The requirements of a decent conveyance are:(Alexander Kennedy Isbister, Outlines of Elocution and Correct Reading, 1870)Lord Chesterfield on Becoming a Fine SpeakerThe foul view a man, who is figured a fine speaker, as a wonder, an otherworldly being, and blessed with some exceptional endowment of Heaven; they gaze at him, in the event that he strolls in the recreation center, and cry, that is he. You will, I am certain, see him in a juster light, and nulla formidine [without apprehension]. You will think of him as just as a man of good sense, who decorates regular musings with the graces of statement, and the tastefulness of style. The supernatural occurrence will at that point stop; and you will be persuaded, that with a similar application, and considerat ion regarding similar articles, you may assuredly rise to, and maybe outperform, this wonder. (Philip Stanhope, letter to his child, February 15, 1754) Instructors of ElocutionIf there is a word more anti-agents than all others to an on-screen character, or to the relative of on-screen characters, it is the word address. It is stating a decent arrangement, be that as it may, presumably, outside of patent prescriptions, there is no fake so extraordinary as portrays nine tenths of statement instructing. People totally unequipped for talking one sentence normally attempt to make open speakers. What is the outcome? Podium, bar, platform, and stage abound with speakers that mouth, speak, tirade, serenade, and articulate, yet are rarely characteristic. It is an egregious malice. That statement can be trained I have no uncertainty, yet I realize that most educators are to be disregarded as you would evade the plague.(American columnist and entertainer Kate Field, cited by Alfred Ayres in Acting and Actors, Elocution and Elocutionists: A Book About Theater Folk and Theater Art, 1903)

Relationship Between Deviance and Mental Illness

Connection Between Deviance and Mental Illness Aberrance and psychological sickness frequently go connected at the hip. While not all freaks are viewed as intellectually sick, practically all intellectually sick people are viewed as degenerate (since psychological maladjustment isn not thought about typical). When contemplating abnormality, at that point, sociologists likewise regularly study psychological maladjustment. The three principle hypothetical structures of human science respect psychological instability somewhat better, anyway they all look to the social frameworks wherein dysfunctional behavior is characterize, recognized, and treated. Functionalists accept that by perceiving psychological instability, society maintains values about acclimating conduct. Emblematic interactionists see intellectually sick people not as debilitated, however as casualties of cultural responses to their conduct. At long last, clash scholars, joined with marking scholars, accept that the individuals in a general public with the least assets are the well on the way to be named intellectually sick. For example, ladies, racial minorities, and the poor all endure higher paces of psychological sickness than gatherings of higher social and monetary status. Further, inquire about has reliably demonstrated that center and privileged people are bound to get some type of psychotherapy for their psychological maladjustment. Minorities and more unfortunate people are bound to just get prescription and physical restoration, and not psychotherapy. Sociologists have two potential clarifications for the connection between societal position and psychological maladjustment. To begin with, some state it is the worries of being in a low-pay gathering, being a racial minority, or being a lady in a chauvinist society that adds to higher paces of dysfunctional behavior since this harsher social condition is a risk to emotional well-being. Then again, others contend that a similar conduct that is named intellectually sick for certain gatherings might be endured in different gatherings thus in this manner not marked all things considered. For example, if a vagrant were to display insane, â€Å"deranged† conduct, she would be viewed as intellectually sick though if a rich lady showed a similar conduct, she may be viewed as just offbeat or enchanting. Ladies likewise have higher paces of dysfunctional behavior than men. Sociologists accept that this stems from the jobs that ladies are compelled to play in the public arena. Destitution, despondent relationships, physical and sexual maltreatment, the worries of raising youngsters, and investing a great deal of energy doing housework all add to higher paces of psychological instability for ladies. Giddens, A. (1991). Prologue to Sociology. New York, NY: W.W. Norton Company. Andersen, M.L. what's more, Taylor, H.F. (2009). Human science: The Essentials. Belmont, CA: Thomson Wadsworth.

Essay Sample Where do I see myself in 5 years

Essay Sample Where do I see myself in 5 years Where do I see myself in 5 years? This is a hard question because no one can know the exact answer to it. From the early childhood, I had a dream to open a flower shop and make people happy with the wonderful bouquets. I thought that it will be very easy to be an owner of something like this. Yet, when I grew up, I understood that such a simple idea to become successful, needs a lot of things, like good education, successful business plan, and many other things. Studying at school, I tried to consider all of the opportunities in order to decide what will be the best for me. It is quite surprising, but I have noticed many different opportunities to disclose my talents and become successful in the flower business. I know that a lot of things can change through five years, but I know what future I want for myself. I think that as most of the people in this world I want to have a successful education, good job, and happy family. Right now I’m a second-year student at a college, and the first task I need to accomplish is to graduate it successfully. Economics department will help me to become a successful business woman. I hope that after graduating, I won’t only have good knowledge about business and marking, but also I will be acquainted with a great number of people who understand me and can help to make my future business successful. Apart from studying at economics department, I plan to attend floristic courses, in order to become a real specialist in this sphere. I don’t know yet, but I think that I also may need to attend design or painting courses. It isn’t something necessary for a florist, but I think that will be very useful for me. I will help to develop my artistic skills and my vision of beauty. As for me, to open a good flower shop will be a problem right after graduation. I completely understand that without relevant experience, it is a very complicated task for any person. For this reason, I have a desire to become a worker of some flower shop or flower corporation. The second variant is even better. A couple of years of such experience will be very useful for me because I will have a chance to get to know the peculiarities of this business. Competition in this business is quite tough, and it is essential to know as much information as possible. Apart from this, a good job will help to gather some sum of money on developing my future shop. However, education and business isn’t everything that I want to have in five years. The question of the family is also quite important for me. I clearly understand that it can’t be planned beforehand, but I hope that I will have a boyfriend, or fiancé, or even husband, who will be on my side. It is much easier to overcome different obstacles when there is a person, who you can trust and who can support you in any complicated situation. Yet, I think that a five-year period isn’t enough to have a baby. I think that I will need more time to deal with this question. I hope that the next five years will be very productive for me in personal, education, and business spheres. However, I clearly understand that my plans can change because of some unpredictable things. The most important thing is that I’m ready to overcome obstacles, challenge myself, and meet new people without fear, and I will do everything possible to become successful and happy.

The Value of Artistic Responses to 9/11 September 11, 2001 and Falling Man - Literature Essay Samples

â€Å"Fact or fiction? Which is the best way to handle an event as momentous as 9/11?† – Michael Billington. In the wake of the 9/11 terror attacks, media and non-fictional responses were rife; the image of the burning Twin Towers is one which has become embedded in the global consciousness. However, amongst these ‘factual’ depictions, there emerged a new genre of fiction: 9/11 fiction. Indeed, novelists, playwrights and poets all came forward with their attempts at responding to the tragedy through the medium of the literary arts. Don DeLillo’s Falling Man[1] and Michel Vinaver’s September 11, 2001[2] are just two instances of these responses. However, 9/11 fiction is a significantly problematic genre. The necessity to convey something that goes beyond spectacle, combined with the perceived obligation to present the event respectfully, renders it a difficult task to confront. Aimee Pozorski epitomises this perceived dilemma of the literary artist: â€Å"Those artists who choose beauty must answer for their aestheticization of violence. Those artists who choose m inimalism must answer for their reductive symbols. Those artists who choose nothing must answer for their silence†[3]. In light of this, it can be argued that fiction is unable to act as an appropriate response to 9/11, and that non-fiction is the only viable means by which to do so. Michael Billington, in his review of Rupert Goold’s anthology of 9/11 playlets, poses the very question which underpins this discussion: â€Å"Fact or fiction? Which is the best way to handle an event as momentous as 9/11?†[4]. It is tempting to argue that art, of both literary and other forms, has no place in response to 9/11. That the attempts of the artist to capture the event are futile bids to represent that which cannot be represented. From this view, a large portion of the ‘un-representable’ matter surrounding 9/11 lies in the quandary of attempting to recreate and portray human emotion. Certainly, the emotional provocation of 9/11 spanned far beyond those who experienced it first-hand; the televising of the event rendered all the world spectators. This mass sense of shock and grief may be deemed to fall outside of the scope of artistic representation, especially given the relative recentness of the attacks. Sarah Lloyd suggests that Septembre 11, 2001 stands as a prime example of emotion being lost in translation: â€Å"He layers the media accounts and speeches in a precise, unemotional – even cold – manner that makes the play difficult to approach†[5]. Indeed, Vina ver avoids the inclusion of stage directions, and makes no use of punctuation. He offers no indicators regarding tone or action; he gives nothing more than the words themselves in a raw, undramatised state. Although this is true for the entirety of the play, the effects of this technique are particularly evident as Vinaver imitates key moments in the timeline of the 9/11 attack. Immediately before the depiction of the initial collision between Flight 11 and the North Tower, the actual last words of flight attendant Madeline Sweeney appear: â€Å"Oh my god oh my god†[6]. The absence of an exclamation point, or indeed any indication that the words should be infused with emotion, seems to solidify the notion of a distinct ‘coldness’ underpinning the play. In contrast, DeLillo’s falling man is a novel which is predominantly focussed with the emotional aftermath of the survivor. Indeed, fictional protagonist Keith Neudecker and his attempts to cope with his experience occupy the core of the novel. The plot opens with Keith in the thick of the attacks; we see the horror and chaos on the ground, but we see it only through the eyes of the protagonist. Christina Cavedon supports and expands upon this notion as she suggests that â€Å"DeLillo portrays the events and their aftermath exclusively in terms of trauma and post-traumatic stress disorder†[7]. Here, Cavedon underlines the implications of viewing 9/11 through the eyes of a survivor, as she suggests that everything that is portrayed is done so through the lens of trauma. This is particularly evident as Keith witnesses the fall of the North Tower, and the narrator states that â€Å"â€Å"That was him coming down, the north tower†[8]. By forming personal ties betwee n Keith and the North Tower, it becomes clear that this novel is unconcerned with the global, or even national repercussions of 9/11. What it is more concerned with is the internal, emotional repercussions for the individual. It also notable that Keith is not the only character whose emotional journey underpins the narrative; the aftermath for his ex-wife Lianne, although experiencing the event only indirectly, is given considerable consideration. Adam Mars-Jones goes so far as to suggest that her journey is more saturated by emotional fractures than Keith’s: â€Å"Lianne wasnt in the towers that fell, but she is the one who comes closer to breaking down†[9]. Indeed, she obsesses over the media in a bid to come to terms with what has happened, and subscribes to the sweeping generalisations which condemn the entirety of Islam. This is evident as she attacks her neighbour, Elena, for playing Middle Eastern music too loudly, accusing Elena of doing it as a personal attack . The fragility of Leanne’s mental state is delineated, as she loses the ability to distinguish between that which is harmless and that which demonstrates personal hostility. In contrast, Keith’s ‘emotional aftermath’ is far less emotional, as a sense of disconnectedness acts as his coping mechanism. It is interesting to note that Leanne is depicted as the more emotionally damaged by the attacks, yet she never experiences them directly. In light of this, DeLillo seems to suggest that, in the wake of such an unprecedented tragedy, all of America are entitled to their own survivor’s journey. In contrast to Vinaver, DeLillo seems to successfully underpin the issue of representing human emotion and trauma by converting the public spectacle of 9/11 into a deeply personal one. Therefore, it can be argued that Septembre 11, 2001 and Falling Man serve as two texts which fail and succeed in confronting the issue of emotional representation respectively. However, if 9/11 is truly ‘unrepresentable’, then to deduce that this issue applies solely to the fictional response is contradictory; non-fictional responses, particularly those produced by the media, are equally as problematic. It is tempting to argue that direct recordings of the attacks and their aftermath, in both video and audio format, portray an indisputable truth. However, this truth is limited to the visual; it displays the aesthetic element of 9/11, but it places it against a backdrop of selective context. Jean Baudrillard, in his article â€Å"The Spirit of Terrorism†, alludes to this notion of context being superimposed onto the image: â€Å"In this case, then, the real is superadded to the image like a bonus of terror, like an additional frisson†¦the image is there first, and the frisson of the real is added†[10]. This is reminiscent of Badurillard’s 1981 discourse on hyperreality and simulacrum, in which he argues that ‘real ity’ has become second to the image. That it is a malignant phenomenon which distorts and disjoints the ‘real’, until the image comes to â€Å"mask the absence of a profound reality†[11]. Indeed, he goes on to suggest that â€Å"Reality and fiction are inextricable, and the fascination with the attack is primarily a fascination with the image (both its exultatory and its catastrophic consequences are themselves largely imaginary)†[12]. Yet, it is this superimposed sense of ‘catastrophe’ which pervades the image of 9/11; in Baudrillard’s view, any deeper meaning or significance has been lost been lost behind the ‘spectacle’. Jean Genet, in his 1983 essay recounting his experiences at a refugee camp, makes a powerful comment on the nature of media representations. Arriving just two days after the Sabra and Shatila massacre, which saw the mass slaughter of Palestinian refugees by militant forces, he underlines the inabi lity of media imagery to adequately capture the â€Å"flies nor the thick white smell of death†[13]. With a sense of broader relevance, he states that â€Å"A photograph has two dimensions, so does a television screen; neither can be walked through’[14]. Here, Genet epitomises the notion that, when severed from the situational and emotional contexts of ‘the moment’, an image becomes disjointed. In the absence of its original context, a void is created; this void is left open to exploitation by both the media and those with a political agenda. Indeed, Baudrillard delineates the tendencies of the media to pursue an agenda which is separate from truth as he states that â€Å"There is no â€Å"good† use of the media; the media are part of the event, they are part of the terror, and they work in both directions†[15] In light of this, the style employed by Vinaver throughout Septembre 11, 2001 can be read in a new light. His omission of stage direction or punctuation acts as a component of the minimalist style which underpins the play. Written in the weeks following the attacks, and amongst the height of the proceeding media storm, the emergence of this minimalist artistic response allowed for a sense of distance from this media fuelled ‘spectacle’. By filtering all perceived emotional and situational context from the events of 9/11, and stripping them down to a â€Å"precise, unemotional†[16] state, Vinaver essentially reopens the ‘void’. He removes those elements of 9/11 which have so often been manipulated, but omits to offer a replacement; instead, he affords his audience the independence to interpret their own meaning. Giuseppe Sofo aligns himself with this view as he suggests that â€Å"The â€Å"deaestheticization† of Vinaver’s theatre is tra nsmitted through the aesthetic choice to leave art out of art, to transform the author into a translator of reality, rather than into a creator, and it had allowed him to re-represent a reality that had been drowned in its own overexposure†[17]. Indeed, the ‘artistic’ nature of Vinaver’s play is interesting, as his aesthetic lies in what he removes as opposed to what he adds. What he achieves is essentially a reverse abstraction; all that survives his minimalist filter is that which was indisputably true to begin with. Sarah Lloyd, although initially standing at odds with this view and commenting on Vinaver’s conveyance of ‘coldness’, goes on to counteract this, as she suggests that: â€Å"by doing so, he requires spectators to participate in the production by bringing their emotions and imagination into play†[18]. Consequently, she realigns herself with the notion that, through the omission of solid emotion, he allows for a new l evel of personal emotional contemplation. Although this means of fictional response is no more ‘realistic’ than its non-fictional counterparts, its honesty allows it to adhere more strongly to a sense of ethical responsibility. Art, unlike media and other ‘non-fiction’ mediums, is self-conscious of its artifice; it does not attempt to present itself as a work of undiluted truth. Returning to the aforementioned words of Sofo, he ends his statement by referring to 9/11 as â€Å"a reality that had been drowned in its own overexposure†[19]. Indeed, media responses to 9/11 seem to revolve around one pivotal image: smoke billowing from the World Trade Centre, as a second plane approaches for collision. This image is one that inundated audiences after the attack and, to a lesser degree, continues to do so until today. Here, Sofo questions the efficiency of this inundation. Anneke Smelik alight herself with Sofo’s notion, whilst also offering an explanation of reasoning: â€Å"an impressive image only has impact when we no longer see it, because the repetition of these images has a dulling or numbing effect†[20]. Both Sofo and Smelik suggest that the excessive circulation of the aforementioned image of the plane and the smoking twin towers, rather than continuously increasing audience response, actually begins to diminish it. In September 11, 20 01, after relaying the final moments of passenger Todd and flight attendant Madeline, the inevitable scenes of destruction are visually excluded. In their place are simply audio effects which echo the sounds of impact; these are indicated by the closest thing to stage directions in the entire play: â€Å"SOUND: THE CRASH OF AN AIRPLANE†[21]. In light of the notion that the poignancy of a constantly repeated image is diminished, together with Sofo’s suggestion that 9/11 has become subject to â€Å"overexposure†[22], Vinaver’s omission of the actual impact between the planes and the towers takes on a powerful significance. Indeed, Vinaver intentionally avoids any direct visual representation of either crash. In doing this, he prevents his play from contributing to the â€Å"overexposure† of this image, and forces the audience to experience the events in a way which they have not become ‘numb’ towards. On the other hand, although he does not directly depict the collision, DeLillo does depict the subsequent devastation. As Keith passes through the â€Å"smoke and ash†, the â€Å"stink of fuel fire†, and the â€Å"figures in windows a thousand feet up, dropping into free space†, the image presented seems fitting with the smoking towers of the core media image. However, what DeLillo endeavours to do is to avoid the drawbacks of the photograph and the television screen that Genet underlines. Indeed, he endeavours to write a fictional novel which can in fact â€Å"be walked through†[23]; the â€Å"thick white smell of death† is exactly what DeLillo manages to recreate. Perhaps the most poignant example of this occurs during the final chapter. The narrative returns to the day of the attacks, albeit a slightly earlier point in the timeline, and graphically depicts the death of Keith’s friend and co-worker, Rumsey: â€Å"Something came trickling f rom the corner of Rumsey’s mouth, like bile†¦He saw the marks on his head, an indentation, a gouge mark, deep, exposing raw tissue and nerve†[24]. DeLillo, although not omitting the symbol of â€Å"overexposure† in the same way as Vinaver, effectively presents it in an alternative way to the media. He does not reopen the void of context, he simply reimagines what the media has instilled by attempting to create a three-dimensional reality. DeLillo conveys this reality through the eyes of a survivor, whose fictional nature renders him a mouldable figure; Keith can be manipulated as necessary to explore multiple layers of 9/11 devastation. Another issue facing the post-9/11 literary movement is the possibility of undercutting the world narrative by placing an exaggerated amount of focus on one event whilst obscuring both its preluding and proceeding contexts. This expansive context is emphasized by Baudrillard as he suggests that the issue of terrorism â€Å"reaches far beyond Islam or America, on which efforts are being made to focus the conflict in order to create the delusion of a visible confrontation and a solution based on force†[25]. Here, Baudrillard suggests that the previously discussed image of 9/11 is one which takes into account only a disjointed spectacle; it presents the impossibility an effect without a cause. He also implies that this spectacle is intentionally used to divert focus away from a cause in order to offer an illusion of justice for the attacks. However, Baudrillard also underlines the futility of this diversion: â€Å"we can say that they did it, but we wished for it. If this is not taken into account, the event loses any symbolic dimension†[26]. For Baudrillard, a failure to understand the symbolism of the image in light of its wider context serves to instigate further acts of terror and war. Fiction and theatre writers occupy a position which allows for the discussion and exposure of this wider context; therefore, 9/11 fiction can once again offer a more valuable medium of response than non-fiction. A Key Aspect of Vinaver’s work is the use of multiple angles from which to view the event, and it is one which allows him to fulfil his ‘responsibility’ in examining the importance of cause and effect. This is perhaps most evident as he layers the political voices of Bush and Bin Laden on top of one another. Their speeches intersect, with each leader speaking alternate lines. The rapid pace of these shifts in focus forces the audience to consider each man’s words in light of the other’s, and reveals distinct parallels betwe en them. In doing this, Vinaver acknowledges that the seeds of terrorism sprout from both sides of the conflict. For example, both leaders perceive their people as having been wronged, and both seek retribution and justice. Indeed, Vinaver suggests an echo of Baudrillard’s stance on the ‘War on Terror’: â€Å"This is terror against terror†[27]. Furthermore, through the use of this layering technique, Vinaver infuses a sense of irony into their words. Immediately after Bin Laden speaks the words â€Å"May God shield us†[28], Bush says â€Å"May God continue to bless us†[29]. These are taken from actual speeches from the two leaders, both given in the wake of the attacks. By taking both of these excerpts and placing them side by side, Vinaver delineates the absurdity of the conflict. As Bin Laden is motivated to wage war on the â€Å"infidels† of America on the behalf of God, Bush addresses the same God and asks for his continued ‘ blessing’. Perhaps, in terms of a world narrative, this implies that both Bush and Bin Laden are using God as an excuse to pursue more self-serving agendas. Nevertheless, Pankaj Mishra argues that the majority of post-9/11 works fail to utilise the power of the writer; that they evade their responsibility to explore the roots of such acts of violence and to expose the uncut world narrative in a way that the media does not. Indeed, in his article â€Å"The End of Innocence†, he questions the ability of 9/11 fiction to discuss the event in terms of its long term political and ideological triggers: â€Å"Composed within the narcissistic heart of the west, most 9/11 fictions seem unable to acknowledge political and ideological belief as a social and emotional reality in the world the kind of fact that cannot be reduced to the individual experience of rage, envy, sexual frustration and constipation†[30]. In particular, Mishra criticises the novelist’s attention to the domestic aftermath of the survivor as he poses the question: â€Å"Are we meant to think of domestic discord as a metaphor for post-9/11 America?†[3 1]. DeLillo appears to subscribe to this accusation throughout Falling Man. Indeed, his focus on the domestic aftermath has become the subject of significant criticism. In the wake of the attacks, Keith and Lianne’s relationship begins to fracture; this is often read as an attempt to reflect the fractures of a post-9/11 America, both in itself and with the rest of the world. In contrast, in DeLillo’s initial, non-fictional response to 9/11, published in Harper Magazine three months after the event, he pointedly acknowledges the complexity of the wider world narrative: â€Å"Terrors response is a narrative that has been developing over years, only now becoming inescapable†[32]. However, In Falling Man, he seemingly disregards this notion, opting instead to focus on the â€Å"individual experiences†[33] of Keith and Lianne. Mishra draws on this initial, non-fiction response of DeLillo to inform his reading of Falling Man as he argues that â€Å"he remains strangely incurious about their pasts and their societies, and he makes little attempt to analyse, in the light of the biggest ever terrorist atrocity, the origin and appeal of political violence†[34]. Here, Mishra underlines the contrast between DeLillo’s two responses; the comparison suggests that his political understanding of 9/11 is lost in translation from non-fiction to fiction. However, in contrast to the view of Mishra, DeLillo does not entirely disregard the broader significance of extremist terrorism; he does grapple with the necessity of cause and effect. Similarly to Vinaver’s depiction of Bin Laden, he does so through the implementation of the terrorist as a point of view character. Whether implementing real-life characters or superimposing fictional representations, the characterisation of those responsible for such suffering is difficult to navigate. If handled incorrectly, writers become susceptible to accusations of misplaced sympathies or a lack of respect for the dead. DeLillo himself has expressed a conflict between his reluctance to consider the viewpoint of the terrorist and his perceived â€Å"novelistic responsibility†: â€Å"I didnt think I could tell the entire story without the presence of at least one of the men — or a fictional version of one of the men — who was involved in those attacks†[35]. Here D eLillo challenges any notion that it is unethical to consider the motivations of terrorist; instead, he suggests that that it is a necessary step towards an understanding of the attacks. Certainly, without an acknowledgment of cause and effect, 9/11 is stripped down to a senseless tragedy; to examine it as a product of this cause and effect is to make sense of it. Indeed, DeLillo depicts the character of Hammad. He is the fictional counterpart of the terrorists who hijacked the planes, and portions of the narrative unfold from his point of view. In contrast to the two-dimensional renderings of the ‘evil’ attackers almost universally presented by the media, DeLillo endeavours to humanise the terrorist. He does this by offering an insight into the conditions which lead one to commit such an extreme act of violence. It is clear that Hammad believes Islam to be under attack, and seems to genuinely believe that what he is doing is for the good of its people. He is influenced by Mohammed Atta, one of the few real-life characters to appear in the novel and a ringleader of the 9/11 attacks. Atta tells him that â€Å"The world changes first in the mind of the man who wants to change it†[36], and encourages him to focus on their ‘mission’. This underlines the ability of young people from countries saturated by violence to be influenced by the promise of belonging, and the allure of a martyr’s afterlife. Baudrillard underlines the necessity for the exploration of characters such as Hammad, who offer an insight into the private world of the terrorist: â€Å"The prodigious success of such an attack presents a problem, and if we are to gain some understanding of it, we have to slough off our Western perspective to see what goes on in the terrorist’s organization, and in their heads†[37]. In addition to the placement of Bin Laden’s words against those of Bush, Vinaver also gives the terrorist a voice. Like DeLillo, Vinaver selects Atta as the terrorist to whom he allows this voice. Although he makes little attempt to humanise him in the way that DeLillo humanises Hammad, he does convey the ritualistic nature of his preparation for his own death. This solidifies the notion that 9/11 is far more than a senseless, standalone act of violence; rather, it is a part of a much larger picture of religious fundamentalism and cultural unrest. Lee Essif actually suggests that Vinaver’s terrorists are more united in their objectives than the American people: â€Å"Vinaver’s September 11 presents a radiophonic projection of a voice of America, the disjointed narration of a spectacle that is unpresentable except through newspaper headlines, and the only sense of community in the text’s polylogic narrative is developed as a primitive, fundamentalist, terr orist one†[38]. A primary issue for writers attempting to capture the essence of a real-life act of violence is the portrayal of its victims and survivors. Here, DeLillo and Vinaver follow two contrary, but both as potentially problematic, literary routes. Throughout September 11, 2001, Vinaver utilises actual victims as characters; this contributes to his style of imitation, as he attempts to recreate the events of the day. In fact, he goes further than this, as he aestheticizes documented speech of actual 9/11 victims. A fitting example occurs as, as briefly aforementioned, the play echoes the last recorded words of American Airlines flight attendant Madeline Sweeney. Vinaver condenses the recording of the phone call made by Sweeney to her manager just moments before Flight 11 collided with the North Tower: â€Å"I see water and buildings/ Oh my God oh my God†[39]. Furthermore, the final recorded words of Flight 93 passenger Todd Beamer, spoken before his attempts to overpower the hijackers, are also imitated by Vinaver: â€Å"let’s roll†. Guy Gavriel Kay likens the implementation of real-life characters by writers to a â€Å"contemporary pandemic†[40]â€Å", characterised by â€Å"a general erosion of the ethical value of privacy and a parallel emergence of a widespread sense of entitlement to look at – or to make use of – the lives of others†[41]. In light of this, the representation of Beamer and Sweeney’s final words can be seen as an intrusion; the last living moments of another human being are perhaps the most private of all. However, it is notable that these moments undergo minimal editing. For the most part, Vinaver simply imitates, creating a collage of real in its rawest form. As his sources are taken mostly from the media and other non-fictional responses, the notion of his ‘intrusion’ is diminished. DeLillo, on the other hand, veers further towards the imaginary as he avoids the explicit portrayal of real-life characters. Instead, he dilutes the representation of fact with enough fiction to increase its palatability. However, the insertion of fictionalised characters such as Keith Neudecker and his girlfriend, Lianne, can be seen to shift focus away from the suffering of actual victims in favour of producing rounded characters whose identity can be manipulated to achieve any intended dramatic effect. However, Sofo rejects this notion, as he suggests that â€Å"If type characters have constantly lost ground to round characters in the theatre over the last centuries, the real world has sometimes done the opposite†[42]. Here, Sofo implies that the real world promotes those two-dimensional individuals who fit the ‘mould’ of societal expectation. In the case of 9/11, placing the focus on such easily malleable survivors allows the media to propagate their own ideas on the event. However, by opting to place fictional rather than real-life characters within his 9/11 setting, DeLillo overcomes the real-life promotion of these â€Å"type characters†, in order to portray those â€Å"round characters† who can act and perceive things differently. Furthermore, DeLillo’s fictional protagonist allows him to evade the anonymising effect that artistic depictions can have on the real-life individual. Indeed, the reduction of those who experienced 9/11 – both survivors and fatalities – to ‘artistic representations’ can be seen to obscure their humanity. On the contrary, in the case of Falling Man, DeLillo attempts to reverse the anonymization of the ‘factual’ responses to 9/11, which are often more focussed on the emotional response of the spectator rather than the memorialisation of the victims. With regards to the novel’s title, DeLillo draws on Richard Drew’s infamous photographi c image, similarly titled â€Å"The Falling Man†. Published just one day following the attacks, the image appeared in the New York Times alongside a caption by journalist N. R. Kleinfield: â€Å"A person falls head first after jumping from the north tower of the World Trade Centre. It was a horrific sight that was repeated in the moments after the planes struck the towers†[43]. This caption, although partnered with a ‘real’ image, epitomises the anonymising effect of an even with mass fatalities. Laura Frost both supports and expands upon this notion as she argues that â€Å"â€Å"The Falling Man† ends up as a generalized memorial to anonymity, a cenotaph or â€Å"empty tomb†, while the spectator’s reaction becomes particularized†[44]. Indeed, Frost juxtaposes the anonymization of the photograph’s subject against the caption’s attention to his mass of watchers; the â€Å"horror† invoked by the image is attri buted to the sight of the man as opposed to his own experience. John Freeman also adheres to this view as he suggests that â€Å"the human component became secondary to that of the spectacle it created† [45]. In light of this, DeLillo’s rendering of a fictional but fully fleshed out survivor of 9/11 takes on a deeper significance. He attempts to reassert a sense of individuality and identity to those who, much like â€Å"The Falling Man†, have been reduced to a ‘monument’ for the mass experience. Artistic responses to 9/11, in all of their broadness, endeavour to achieve an array of things: political protest and trauma reconciliation amongst them. However, rarely do they attempt to directly recreate the event. Even in the case of Septembre 11, 2001, Vinaver’s play acts as a template for the imagination. His precise collage of real-life speeches, audio and media headlines illustrate the event as if it were stripped of all emotion; he does not attempt to recreate 9/11, but rather to make sense of an event by removing the conflicting interplay of emotion. Similarly, DeLillo depicts the events of 9/11 largely through the abstracted lens of a survivor who appears to be suffering from Post-Traumatic Stress Disorder, rendering his novel a self-conscious diversion from a faithful representation of events. However, non-fictional responses, particularly those of the media, come no closer to a faithful rendering of the attacks. Instead, they strip away the surrounding context, le aving only a catastrophic image on which to project a selective context. In light of this, art offers a medium through which to reassess these lost pieces of context, and to subsequently make sense of the ‘senseless’ by means of the imagination. Arin Keeble underlines the importance of the creation of art in response to traumatic events as he suggests that â€Å"because 9/11 was such a visual spectacle, newspapers and magazines sought literary authors – experts at exploring the human condition through the written word – to interpret or narrate the trauma†[46]. Indeed, â€Å"interpretation† is the epitome of what fictional and theatrical responses to 9/11 are concerned with. They should not be read as faithful renderings of reality, but rather as ambiguous representations which aim to provoke a wider understanding of an event which seems to lie beyond comprehension. Bibliography Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: University of Michigan Press, 1994. Baudrillard, Jean. â€Å"The Spirit of Terrorism†. Le Monde, November 3, 2001. In The Spirit of Terrorism and Other Essays, translated by Chris Turner, 1-34. London: Verso, 2003. Billington, Michael. â€Å"Decade – review†. The Guardian, September 9, 2011. Accessed April 17, 2017. https://www.theguardian.com/stage/2011/sep/09/decade-review. Cavedon, Christina. â€Å"Falling Man’s Escape Into Hyperreality†. In Cultural Melancholia: US Trauma Discourses Before and After 9/11, by Christina Cavedon, 323-384. Leiden: BRILL, 2015. DeLillo, Don. Falling Man. New York: Simon and Schuster, 2007. DeLillo, Don. â€Å"In the Ruins of the Future†. Harper Magazine, December, 2001. Accessed April 22, 2017. http://harpers.org/archive/2001/12/in-the-ruins-of-the-future/. DeLillo, Don. Interview with Melissa Bloc. All Things Considered. NPR, June 20, 2007. http://www.npr.org/2007/06/20/11223451/falling-man-maps-emotional-aftermath-of-sept-11. Essif, Lee. â€Å"The (Supra-) Global Spectacle of American (Non-) Community†. In American ‘Unculture’ in French Drama: Homo Americanus and the Post-1960 French Resistance, by Les Essif, 266-193. Basingstoke: Springer, 2013. Freeman, John. â€Å"DeLillo’s 9/11 Novel Turns Trauma into Art†. The Guardian, September 11, 2007. Accessed April 16, 2017. https://www.theguardian.com/books/booksblog/2007/sep/11/terroristattacks. Frost, Laura. â€Å"Still Life: 9/11’s Falling Bodies†. In Literature After 9/11, edited by Ann Keniston and Jeanne Follansbee Quinn, 180-207. New York: Routledge, 2013. Gavriel Kay, Guy. â€Å"Are Novelists Entitled to Use Real Life Characters?†. The Guardian, August 20, 2009. Accessed April 16, 2009. https://www.theguardian.com/books/booksblog/2009/aug/20/novelists-real-life-characters. Genet, Jean. Four Hours in Shatila†, Journal of Palestine Studies 12.3 (1983): 3-22. Accessed April 10, 2017. doi:10.2307/2536147. Keeble, Arin. â€Å"Why the 9/11 Novel Has Been Such a Troubled and Contested Genre†. Independent, September 10, 2016. Accessed April 10, 2017. http://www.independent.co.uk/arts-entertainment/books/features/911-novel-thomas-pynchon-twin-towers-september-11-don-delillo-a7236091.html. Kleinfield, N. R. â€Å"A Creeping Horror†, New York Times, September 12, 2001. Lloyd, Sarah. â€Å"Dramatizing the Violence: Michel Vinaver’s 11 Septembre 2001/ 11 September 2001†. In Fatal Fascinations: Cultural Manifestations of Crime and Violence, edited by Suzanne Bray and Gerald Preher, 145-157. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014. Mars-Jones, Adam. â€Å"As His World Came Tumbling Down†. The Guardian, May 13, 2007. Accessed April 22, 2017. https://www.theguardian.com/books/2007/may/13/fiction.dondelillo. Mishra, Pankaj. â€Å"The End of Innocence†. The Guardian, May 19, 2007. Accessed April 13, 2017. https://www.theguardian.com/books/2007/may/19/fiction.martinamis. Pozorski, Amy. Falling After 9/11. New York: Bloomsbury Publishing USA, 2004. Kindle edition. Smelik, Anneke. â€Å"Mediating Memories: The Ethics of Post-9/11 Spectatorship†. Arcadia 45 (2010): 307-325. Accessed April 15, 2017. https://www.degruyter.com/view/j/arca.2011.45.issue-2/issue-files/arca.2011.45.issue-2.xml. Sofo, Giuseppe. â€Å"Reality’s a Stage: Staging (Over) Reality in Michael Vinaver’s 11 September 2001†. In Aesthetics and Ideology in Contemporary Literature and Drama, edited by Madelena Gonzalez and Rene Agostini, 163-174. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015. Vinaver, Michel. Septembre 11, 2001. Paris: L’Arche, 2002. [1] Don DeLillo, Falling Man (New York: Simon and Schuster, 2007). [2] Michel Vinaver, Septembre 11, 2001 (Paris: L’Arche, 2002). [3] Aimee Pozorski, Falling After 9/11 (New York: Bloomsbury Publishing USA, 2004), Kindle Edition. [4] Michael Billington, â€Å"Decade – review†, The Guardian, September 9, 2011, accessed April 17, 2017, https://www.theguardian.com/stage/2011/sep/09/decade-review. [5] Sarah Lloyd, â€Å"Dramatizing the Violence: Michel Vinaver’s 11 Septembre 2001/ 11 September 2001†, in Fatal Fascinations: Cultural Manifestations of Crime and Violence, ed. Suzanne Bray and Gerald Preher (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), 146. [6] Vinaver, Septembre 11, 2001, 16. [7] Christina Cavedon, â€Å"Falling Man’s Escape Into Hyperreality†, in Cultural Melancholia: US Trauma Discourses Before and After 9/11, by Christina Cavedon (Leiden: BRILL, 2015), 323. [8] DeLillo, Falling Man, 5. [9] Adam Mars-Jones, â €Å"As His World Came Tumbling Down†, The Guardian, May 13, 2007, accessed April 22, 2017, https://www.theguardian.com/books/2007/may/13/fiction.dondelillo. [10] Jean Baudrillard, â€Å"The Spirit of Terrorism†, Le Monde, November 3, 2001, in The Spirit of Terrorism and Other Essays, trans. Chris Turner (London: Verso, 2003), 29. [11] Jean Baudrillard, Simulacra and Simulation (Ann Arbor: University of Michigan Press, 1994), 6. [12] Baudrillard, The Spirit of Terrorism, 28-29. [13] Jean Genet, Four Hours in Shatila†, Journal of Palestine Studies 12.3 (1983): 5, accessed April 10, 2017, doi:10.2307/2536147. [14] Genet, Four Hours in Shatila†, 4. [15] Baudrillard, The Spirit of Terrorism, 31. [16] Lloyd, â€Å"Dramatizing the Violence†, 146. [17] Giuseppe Sofo, â€Å"Reality’s a Stage: Staging (Over) Reality in Michael Vinaver’s 11 September 2001†, in Aesthetics and Ideology in Contemporary Literature and Drama, ed. Madelena Gonzal ez and Rene Agostini (Newcastle upon Tyne: Cambridge Scholars Publishing, 2015), 163. [18] Lloyd, â€Å"Dramatizing the Violence†, 146. [19] Sofo, â€Å"Reality’s a Stage†, 163. [20] Anneke Smelik, â€Å"Mediating Memories: The Ethics of Post-9/11 Spectatorship†, Arcadia 45 (2010): 315, accessed April 15, 2017, https://www.degruyter.com/view/j/arca.2011.45.issue-2/issue-files/arca.2011.45.issue-2.xml. [21] Vinaver, Septembre 11, 2001, 16, 23. [22] Sofo, â€Å"Reality’s a Stage†, 163. [23] Genet, â€Å"Four Hours in Shatila†, 4. [24] DeLillo, Falling Man, 241. [25] Baudrillard, â€Å"The Spirit of Terrorism†, 5. [26] Baudrillard, â€Å"The Spirit of Terrorism†, 11. [27] Baudrillard, The Spirit of Terrorism, 9. [28] Vinaver, Septembre 11, 2001, 68. [29] Vinaver, Septembre 11, 2001, 68. [30] Pankaj Mishra, â€Å"The End of Innocence†, The Guardian, May 19, 2007, accessed April 13, 2017, https://www.theguardian.com/bo oks/2007/may/19/fiction.martinamis. [31] Mishra, â€Å"The End of Innocence†. [32] Don DeLillo, â€Å"In the Ruins of the Future†, Harper Magazine, December, 2001, accessed April 22, 2017, http://harpers.org/archive/2001/12/in-the-ruins-of-the-future/. [33] Mishra, â€Å"The End of Innocence†. [34] Mishra, â€Å"The End of Innocence†. [35] Don DeLillo, Interview with Melissa Block, All Things Considered, NPR, June 20, 2007, http://www.npr.org/2007/06/20/11223451/falling-man-maps-emotional-aftermath-of-sept-11. [36] DeLillo, Falling Man, 80. [37] Baudrillard, The Spirit of Terrorism, 21. [38] Les Essif, â€Å"The (Supra-) Global Spectacle of American (Non-) Community†, in American ‘Unculture’ in French Drama: Homo Americanus and the Post-1960 French Resistance, by Les Essif (Basingstoke: Springer, 2013), 270. [39] Vinaver, September 11, 2001. [40] Guy Gavriel Kay, â€Å"Are Novelists Entitled to Use Real Life Characters?†, The Gu ardian, August 20, 2009, accessed April 16, 2009, https://www.theguardian.com/books/booksblog/2009/aug/20/novelists-real-life-characters. [41] Gavriel Kay, â€Å"Are Novelists Entitled to Use Real-Life Characters?†. [42] Sofo, â€Å"Reality’s a Stage†, 163. [43] N. R. Kleinfield, â€Å"A Creeping Horror†, New York Times, September 12, 2001. [44] Laura Frost, â€Å"Still Life: 9/11’s Falling Bodies†, in Literature After 9/11, ed. Ann Keniston and Jeanne Follansbee Quinn (New York: Routledge, 2013), 191. [45] John Freeman, â€Å"DeLillo’s 9/11 Novel Turns Trauma into Art†, The Guardian, September 11, 2007, accessed April 16, 2017, https://www.theguardian.com/books/booksblog/2007/sep/11/terroristattacks. [46] Arin Keeble, â€Å"Why the 9/11 Novel Has Been Such a Troubled and Contested Genre†, Independent, September 10, 2016, accessed April 10, 2017, http://www.independent.co.uk/arts-entertainment/books/features/911-novel-th omas-pynchon-twin-towers-september-11-don-delillo-a7236091.html.

Benefits Of Benefits For Being Unemployed - 959 Words

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Strain who is a reporter, for The Weekly Standard, reports that roughly 1.3 million were cut off from those extensions. He reports, â€Å"An estimated 1.3 million workers who have been unsuccessfully looking for a job for 27 weeks or longer (â€Å"th e long-term unemployed†) will immediately lose benefits if the EUC program is not extendedRead MoreCurrent Poverty Of The Uk1490 Words   |  6 Pagesthe Joseph Rowntree Foundation, their relation to the issue of unemployment, critical analysis of these explanations and why ultimately poverty can’t be blamed on one specific problem. Pathological explanations ‘blame’ the person themselves for being poor but also blame the family. This is far from a modern concept, from 1598 to 1834 parishes that gave help to the poor investigated single women with children or of childbearing age. They were suspicious that they would rely on the parish to giveRead More Unemployment in the United States Essay1008 Words   |  5 Pagesmeasured in quantities. Due to a flow of variables such as natural populations, net immigrations, new entrances, and retirements there is change to the labor force. The growth of jobs is a relief but with the percent that are still unemployed and the billions of dollars of debt that have been created are still not enough to get our economy growing. We have a lot of work to do before our economy gets stable and helps people become more confident. President Obama organized an $819 billionRead MoreAn International Food Market That Only Hires Individuals Who Are Unemployed Will Help Combat The Social Issue Of Unemployment1729 Words   |  7 PagesThis business evaluation will look at whether or not creating an international food market that only hires individuals who are unemployed will help combat the social issue of unemployment in New Zealand. Unemployment is a huge issue in New Zealand and something needs to be done about it. The idea is to create a market that offers a starting point to the unemployed citizens where they can develop their skills, gain experience and finish with a reference and CV. The concerns of two key stakeholdersR ead MoreUnemployment And The Economy By Emily B. Irwin1329 Words   |  6 PagesUnemployment and the Economy Emily B. Irwin Eastern Florida State College Abstract â€Å"Labor is a driving force in every economy – wages paid for labor promote consumer spending and the output of that labor is critical to a company’s success. Similarly, unemployed workers represent wasted potential production in the economy. Therefore, individuals are directly affected by unemployment and it is a significant economic concern.† (Simpson, 2011) Because most people rely on income generated by â€Å"working† to maintainRead MoreLosing More Than A Job : Effects Of Long Term Unemployment On The Average American Essay1543 Words   |  7 PagesJob loss can happen to anyone, but when being without work stretches over months— even years—it can be challenging to survive it. Long-term unemployment, defined as being out of work for six months or longer, has a myriad of effects on the average American; it impacts not only their economic well-being, but their mental and physical health. Finances can suffer, self- worth can plummet, and health can deteriorate.On a brighter note, the long-term unemployed can be granted the opportunity to gain more

Carol Ann Duffy Poems Analysis - 8144 Words

Originally Introduction Memories play a significant role in the poetry of Carol Ann Duffy, particularly her recollections of childhood places and events. The poem â€Å"Originally,† published in The Other Country (1990), draws specifically from memories of Duffys familys move from Scotland to England when she and her siblings were very young. The first-born child, Duffy was just old enough to feel a deep sense of personal loss and fear as she traveled farther and farther away from the only place she had known as â€Å"home† and the family neared its alien destination. This sentiment is captured in â€Å"Originally,† in which it is described in the rich detail and defining language of both the child who has had the experience and the adult who recalls†¦show more content†¦The hate name of the racists is sprayed on a brick wall the harshness and unyielding nature of which is symbolic of the mentality of those who do such things. The unfamiliar, snowy weather and artificial neon lights create the impression for the immigrant that the country moved to is coming to bits. This image of fragmentation is, though, not entirely imaginary as he or she has a life splintered from all that is familiar and constantly experiences a sense of alienation. The italicised words at the close of the poem give voice to the immigrant but this only gives away a difficulty with English. The unfinished verbs, Me not know and It like they only†¦ are drawn attention to by Duffy in order that the reader may ponder what it would be like to face the same language problem. The final words of the poem, Imagine that remind us of the opening and there is quite a clear impression that Duffy is adopting an undisguised didactic stance. As a skilled and empowered user of the English language herself she is drawing attention to the lot of those who are marginalised because of their deficiency in its use. Carol Ann Duffy’s Stealing -An Analysis and thoughts.(Part One) This is a cold poem in more ways than one.The subject matter is seasonally icy and so is the tone of the speaker. The insouciant delivery suggestsShow MoreRelatedPoem Analysis: Medusa by Carol Ann Duffy923 Words   |  4 PagesMedusa by Carol Ann Duffy The poem Medusa explores the theme of jealousy and anger; the poet illustrates this using the extended metaphor of a Greek mythological creature Medusa, whose story describes her as a beautiful maiden that is turned into a hideous creature after being raped by Poseidon. The poet furthermore links this metaphor to the theme of feminism when she describes the women in the poem overpowering the man that hurt her. The language in this poem is quite harsh, emphasising theRead MoreAnalysis Of The Poem War Photographer By Carol Ann Duffy2591 Words   |  11 PagesPoetry is a way of confronting experiences and the issues it raises for the living. Death is rife during global conflicts and some poets use their craft to show the pain and suffering aspects of death. ‘War Photographer’ by Carol Ann Duffy presents people’s death through both literal and figurative lexis. It uses the metaphorical lens of a camera to create an opinion about war and the role of media is reporting it humanely. ‘A Mother in a Refugee Camp’ by Chinua Achebe presents the suffering andRead MoreAnalysis of Poems Eurydice and Mrs. Midas by Carol-Ann Duffy1020 Words   |  5 Pageswoman being seen as an accessory to a man rather than an individual with the capability to think for herself. However, Carol Ann Duffy’s anthology ‘The World’s Wife’ seeks to correct the gen der inequalities, with the poems Eurydice and Mrs. Midas portraying strong minded and authoritative females that retell the Greek mythological stories from a women’s point of view. In both poems Eurydice and Mrs. Midas we are introduced to two women who in mythology have been overshadowed by their more famous husbandsRead MoreAnalysis of Poems Eurydice and Mrs. Midas by Carol-Ann Duffy1005 Words   |  5 Pageswoman being seen as an accessory to a man rather than an individual with the capability to think for herself. However, Carol Ann Duffy’s anthology ‘The World’s Wife’ seeks to correct the gender inequalities, with the poems Eurydice and Mrs. Midas portraying strong minded and authoritative females that retell the Greek mythological stories from a women’s point of view. In both poems Eurydice and Mrs. Midas we are introduced to two women who in mythology have been overshadowed by their more famous husbandsRead MoreIn Mrs Tilschers Classroom a Poem by Carol Ann Duffy740 Words   |  3 PagesA poem that highlights the theme of childhood is â€Å"In Mrs Tilscher’s Class†. It is a thought provoking and nostalgic poem written by Carol Ann Duffy which at first glance seems straightforward by after close examination and analysis reveals to be more complex than originally anticipated. The poem is structured into four stanzas. Each represent a term in the final year of Primary school and highlights a change in mood and atmosphere in parallel with the child. The first half of the poem celebratesRead More Attitude Towards Love in Valentine and The Flea Essay1660 Words   |  7 PagesThrough Close Analysis of Language, Structure and Theme, Compare and Contrast the Poets Attitude Towards Love in Valentine and The Flea. The two poems Valentine and The Flea are about the two different ways in which the poets portray their views about love, however the poems are still linked in a few ways. The Flea was published in the seventeenth century and was written by John Donne. Valentine was published in 1983 and was written by Carol Ann Duffy. Both poems are addressedRead More Carol Ann Duffys Revision of Masculinist Representations of Female Identity3217 Words   |  13 PagesCarol Ann Duffys Revision of Masculinist Representations of Female Identity Carol Ann Duffy is one of the freshest and bravest talents to emerge in British poetry —any poetry — for years, writes Eavan Boland (Duffy, 1994, cover). This courage is manifest in Duffy’s ability and desire to revise masculinist representations of female identity and her engagement with feminine discourse, a concept which, as Sara Mills points out: has moved away from viewing women as simply an oppressed group, asRead MoreEssay on Carol Ann Duffy and Liz Lochhead Explore Memories1137 Words   |  5 PagesCompare and contrast how Duffy and Lochhead explore memories Both Carol Ann Duffy and Liz Lochhead provide an exploration of their childhood memories, and how these memories have changed and developed with age into analysis of social expectations of men and women in the 1960s. In Duffys poem Litany and Lochheads poem 1953, both poets reflect on their childish perceptions of their parents conformity to social convention. Duffy and Lochhead excellently implement a dramatic monologueRead More Comparison of Stealing and Hitcher Essay1324 Words   |  6 Pagesbe comparing two poems; Stealing, by Carol Ann Duffy and Hitcher, by Simon Armitage. I will be using several categories in which to structure my comparison, which include style of language and structure. In this piece, I hope to provide in depth analysis into the narrators feelings and the poets techniques. Finally I will be making a summary of my comments in a brief conclusion at the end, which will include my thoughts on both poems. The style of language in these poems have several similaritiesRead MoreA Skittle of Milk2741 Words   |  11 PagesANALYSIS IN MRS TILSCHERS CLASS â€Å"a skittle of milk† The metaphor, â€Å"skittle of milk,† is very effective. The inclusion of the detail of, â€Å"milk,† is particularly effective. The white colour of the milk reflects the purity and innocent mind of the persona. Highlighting that Duffy is in her youth and is inexperienced. The comparison of milk bottles to skittles is also effective. It reminds us of games played at school highlighting how innocent the poet was. This shows how enjoyable school was for

Major General Benjamin Butler in the Civil War

Born at Deerfield, NH on November 5, 1818, Benjamin F. Butler was the sixth and youngest child of John and Charlotte Butler. A veteran of the War of 1812 and the Battle of New Orleans, Butlers father died shortly after his sons birth. After briefly attending the Phillips Exeter Academy in 1827, Butler followed his mother to Lowell, MA the following year where she opened a boarding house. Educated locally, he had issues at school with fighting and getting into trouble. Later sent to Waterville (Colby) College, he attempted to gain admission to West Point in 1836 but failed to secure an appointment. Remaining at Waterville, Butler completed his education in 1838 and became a supporter of the Democratic Party. Returning to Lowell, Butler pursued a career in law and received admittance to the bar in 1840. Building his practice, he also became actively involved with the local militia. Proving a skilled litigator, Butlers business expanded to Boston and he gained notice for advocating the adoption of a ten-hour day at Lowells Middlesex Mills. A supporter of the Compromise of 1850, he spoke out against the states abolitionists. Elected to the Massachusetts House of Representatives in 1852, Butler remained in office for much of the decade as well as attained the rank of brigadier general in the militia. In 1859, he ran for governor on a pro-slavery, pro-tariff platform and lost a close race to Republican Nathaniel P. Banks. Attending the 1860 Democratic National Convention in Charleston, SC, Butler hoped that a moderate Democrat could be found that would prevent the party from splitting along sectional lines. As the convention moved forward, he ultimately elected to back John C. Breckenridge. The Civil War Begins Although he had shown sympathy to the South, Butler stated that he could not countenance the regions actions when states began to secede. As a result, he quickly began seeking a commission in the Union Army. As Massachusetts moved to respond to President Abraham Lincolns call of volunteers, Butler used his political and banking connections to ensure that he would command the regiments that were sent to Washington, DC. Traveling with the 8th Massachusetts Volunteer Militia, he learned on April 19 that Union troops moving through Baltimore had become embroiled in the Pratt Street Riots. Seeking to avoid the city, his men instead moved by rail and ferry to Annapolis, MD where they occupied the US Naval Academy. Reinforced by troops from New York, Butler advanced to Annapolis Junction on April 27 and reopened the rail line between Annapolis and Washington. Asserting control over the area, Butler threatened the states legislature with arrest if they voted to secede as well as took possession of the Great Seal of Maryland. Lauded by General Winfield Scott for his actions, he was ordered to protect transport links in Maryland against interference and occupy Baltimore. Assuming control of the city on May 13, Butler received a commission as a major general of volunteers three days later. Though criticized for his heavy-handed administration of civil affairs, he was directed to move south to command forces at Fort Monroe later in the month. Situated at the end of the peninsula between the York and James Rivers, the fort served as a key Union base deep in Confederate territory. Moving out from the fort, Butlers men quickly occupied Newport News and Hampton. Big Bethel On June 10, more than a month before the First Battle of Bull Run, Butler launched an offensive operation against Colonel John B. Magruders forces at Big Bethel. In the resulting Battle of Big Bethel, his troops were defeated and forced to withdraw back towards Fort Monroe. Though a minor engagement, the defeat received a great deal of attention in the press as the war had just begun. Continuing to command from Fort Monroe, Butler refused to return fugitive slaves to their owners claiming that they were contraband of war. This policy quickly received support from Lincoln and other Union commanders were directed to act similarly. In August, Butler embarked part of his force and sailed south with squadron led by Flag Officer Silas Stringham to attack Forts Hatteras and Clark in the Outer Banks. On August 28-29, the two Union officers succeeded in capturing the fort during the Battle of Hatteras Inlets Batteries. New Orleans Following this success, Butler received command of the forces that occupied Ship Island off the Mississippi coast in December 1861. From this position, he moved to occupy New Orleans after the citys capture by Flag Officer David G. Farragut in April 1862. Reasserting Union control over New Orleans, Butlers administration of the area received mixed reviews. While his directives helped check the annual yellow fever outbreaks others, such as General Order No. 28, led to outrage across the South. Tired of the citys women abusing and insulting his men, this order, issued on May 15, stated that any woman caught doing so would be treated as a woman of the town plying her avocation (a prostitute). In addition, Butler censored New Orleans newspapers and was believed to have used his position to loot homes in the area as well as improperly profit from the trade in confiscated cotton. These actions earned him the nickname Beast Butler. After foreign consuls complained to Lincoln that he was int erfering with their operations, Butler was recalled in December 1862 and replaced with his old foe, Nathaniel Banks. Army of the James Despite Butlers weak record as a field commander and controversial tenure in New Orleans, his switch to the Republican Party and support from its Radical wing compelled Lincoln to give him a new assignment. Returning to Fort Monroe, he assumed command of the Department of Virginia and North Carolina in November 1863. The following April, Butlers forces assumed the title of Army of the James and he received orders from Lieutenant General Ulysses S. Grant to attack west and disrupt the Confederate railroads between Petersburg and Richmond. These operations were intended to support Grants Overland Campaign against General Robert E. Lee to the north. Moving slowly, Butlers efforts came to a halt near Bermuda Hundred in May when his troops were held by a smaller force led by General P.G.T. Beauregard. With the arrival of Grant and the Army of the Potomac near Petersburg in June, Butlers men began operating in conjunction with this larger force. Despite Grants presence, his performance did not improve and the Army of the James continued to have difficulty. Positioned north of the James River, Butlers men had some success at Chaffins Farm in September, but subsequent actions later in the month and in October failed to gain significant ground. With the situation at Petersburg stalemated, Butler was directed in December to take part of his command to capture Fort Fisher near Wilmington, NC. Supported by a large Union fleet led by Rear Admiral David D. Porter, Butler landed some of his men before judging that the fort was too strong and the weather too poor to mount an assault. Returning north to an irate Grant, Butler was relieved on January 8, 1865, and command of the Army of the James passed to Major General Edward O.C. Ord. Later Career Life Returning to Lowell, Butler hoped to find a position in the Lincoln Administration but was thwarted when the president was assassinated in April. Formally leaving the military on November 30, he elected to resume his political career and won a seat in Congress the following year. In 1868, Butler played a key role in the impeachment and trial of President Andrew Johnson and three years later wrote the initial draft of the Civil Rights Act of 1871. A sponsor of the Civil Rights Act of 1875, which called for equal access to public accommodations, he was angered to see the law overturned by the Supreme Court in 1883. After unsuccessful bids for Governor of Massachusetts in 1878 and 1879, Butler finally won the office in 1882. While governor, Butler appointed the first woman, Clara Barton, to an executive office in May 1883 when he offered her oversight of the Massachusetts Reformatory Prison for Women. In 1884, he earned the presidential nomination from the Greenback and Anti-Monopoly Parties but fared poorly in the general election. Leaving office in January 1884, Butler continued to practice law until his death on January 11, 1893. Passing in Washington, DC, his body was returned to Lowell and buried at Hildreth Cemetery. Sources Civil War Trust: Major General Benjamin ButlerUnversity of Cincinnati Libraries: Benjamin ButlerEncyclopedia Virginia: Benjamin Butler

Physical Capabilities Of Athletes And Athletic Types

Outside appearance may be the most obvious difference between an athlete and nonathletic. Athletic types tend to have more muscles and less body fat than more sedentary people. The physical capabilities of athletes may exceed those who don t regularly engage in exercise, and active sports people also tend to have fewer health problems. In today’s society exercise is something that our society lacks. Did you know that athletes work out more than nonathletic? Throughout my paper I will observe different fitness places and ask different people about how they work out. Such as what is their mind set when they come to work out. Fitness is really important today’s society. Do you ever wonder how females workout vs males? I begin and athlete†¦show more content†¦This center has most of all the machines that you need to work out they also have a pool and two exercising room to do other things than working out on machines. This is a nice atmosphere for people to come an d exercise. I started observing this facility on June 22 and came and watched for two days. I found a lot of athletes in there but found more non athletes. I asked interviewer # 1 this question how often did they come? They respond back saying that they come three times a week. Then I asked them were they and athlete and, they responded no. Lastly I asked her did she have and workout plan or did she just come and do whatever comes to mind, she respond saying that she does whatever comes to mind. Interviewer #2 from this place was and athlete from Johnson C smith University I ask him how often does he attend the gym and he replaces saying that he come at least five days a week. Next I asked him what is his goal or reasoning coming to this place is it because he wants to do it or he comes because of football? He answered saying that he does it for his self and most importantly he does it for football so when the season comes he is ready and does not get his spot taken away. After int erviewing these two people I just sat back and watch what they did differently far as woman and man and non-athlete vs athlete. The woman workout her upper and lower body using light weight. Far as the male he just worked out on his upper body and used heavy weight. I continued to watch

Cultural Diversity Free Essays

Understanding and Celebrating Cultural Diversity in America ` Many people mistakenly use phrases such as â€Å"American culture,† â€Å"white culture,† or Western culture,† as if such large, common, and homogenous cultures exist in the United States today. These people fail to acknowledge the presence of (1)cultural diversity, or the presence of multiple cultures and cultural differences within a society. In reality, many different cultural groups comprise the United States. We will write a custom essay sample on Cultural Diversity or any similar topic only for you Order Now The United States of America thrives on (2)diversity. A synthesis of the world’s plentiful and varied (3) races, religions, and cultures, America is a home to all, such that no one group can call itself more â€Å"American† than another. The fusion of cultures here is so unique and so exceptional that citizens can be just as proud of their original (4)cultural heritage as they are to be an American. However, many people remain opposed to the idea of cultural diversity, or multiculturalism. Cultural diversity is important because our country, our workplaces and our schools includes persons of various ethnic groups and interests. We can learn from one another, but first we must have a level of understanding about one another. What is cultural diversity? (5)Diversity is nothing more than a difference from the majority. Cultural diversity helps people to dispel negative stereotypes about one another. In any culture there is a majority and many (6)minorities. (7)Culture is a set of norms that set standards for a (8)society of what is acceptable behavior. Cultural diversity was characteristic of this continent prior to the coming of European colonists and African slaves. Throughout history, humans have expressed an interest in cultural diversity. People have recognized differences in values, (9)norms, beliefs and practices everywhere. Cultural diversity allows for a better understanding of other cultures and ideas. Whenever different groups have come into contact with one another, people have compared and contrasted their respective cultural (10)traditions. Societies often differentiated themselves from one another based on these variant cultural patterns. The many separate societies that emerged around the globe differed markedly from each other, and many of these differences persist to this day. As well as the more obvious cultural differences that exist between people, such as language, dress and traditions, there are also significant variations in the way they interact with their environment. Cultural diversity can be seen as analogous to (11)biodiversity. Writings on the diversity of cultures have often been based on (12)ethnocentric attitudes. (13)Ethnocentrism is the practice of judging another society by the values and standards of one’s own society. It appears that ethnocentrism is a universal phenomenon. In America, many of us have a peculiar habit of assuming that those who differ from our norms are wrong. We tend to view the world from a rather (14)myopic view leading to those outside this country calling us â€Å"ugly Americans†. As humans learn the basic values, (23)beliefs and norms of their own society, they tend to think of their own group and culture as preferable, ranking other cultures as less desirable. In fact, members of a society become so committed to particular cultural traditions that they cannot conceive of any other way of life. Unlike (15)assimilation, where everyone’s differences are lost in a giant melting pot, (16) multiculturalism advocates the idea that maintaining our different cultural identities can enrich us and our communities. Multiculturalism does not promote ethnocentrism or seek to elevate one (24)cultural identity above another. Instead, it celebrates diversity by allowing us to value our individual (17) heritages and beliefs, while respecting those of others. To combat the problem of ethnocentrism, (25)sociologists embrace the concept of (18)cultural relativism. Cultural relativism is the view that (26)cultural traditions must be understood within the context of a particular society’s responses to problems and opportunities. Cultural relativism is a method or procedure for explaining and interpreting other people’s cultures. Because cultural traditions represent unique adaptations and symbolic symbols for different societies, these traditions must be understood by sociologists as objectively as possible. Cultural relativism offers sociologists a means of investigating other societies without imposing ethnocentric assumptions. Cultural diversity makes our country richer by making it a more interesting place in which to live. Just think how boring a meal would be without Chinese, Mexican, Japanese, Italian, German, French or Indian food. Cultural diversity also makes our country stronger and better able to compete in the new (19)global economy. People from diverse cultures bring language skills, new ways of thinking, and creative solutions to difficult problems and negotiating skills. In the past, ethnographers in the United States used to refer to our country as a (20)melting pot where new (21) immigrants would eventually be fully integrated into the American culture. This has obviously not happened so modern researchers have begun to talk about America as a garden salad where different cultural diversity mixes with the European American culture to form a meal where all of the various ingredients are still readily identifiable. As we build our cultural awareness, we also build bridges to trust, respect, and understanding across cultures and within a multicultural world. Every culture and race has made a substantial contribution to American history. Respect for each others’ (27)cultural values and belief systems is an intrinsic part of cultural diversity. Look around and you will see that our society is very diverse. Diversity enriches our lives. People may fear diversity simply because they are accustomed to the way things used to be and change makes them uncomfortable. They often view other cultural traditions as strange, alien, inferior, crazy or immoral. But the bottom line is that when we fully recognize that America is great because of the contributions of the many, then we as a people will be even more united in our common goals, and even more proud to be American citizens. Without its rich mixture of religions, races, and cultures, America would not be the nation that it is today. Founded upon the basis of equality and freedom for all, America acts as a stage where intensely different cultures not only coexist peacefully, but also thrive symbiotically and create a nation. Cultural diversity makes the United States a much more interesting place in which to live for all of its (22)inhabitants. If we all thought alike, looked alike and acted alike, imagine how boring and dull the world would be. Each culture provides its own special and irreplaceable contribution to our understanding of America today. No one likes being ignored. People long to be celebrated, not tolerated. They always have and they always will. References Naylor, Larry L. (1997). Cultural Diversity in the United States. Westpoint, CT: Bergin and Garvey. Page 1-10. http://www. diversity-books. com. html Macionis, J. J. (2009). Society: The basics. (12th ed. ). Boston, Ma: Pearson Education Inc. Scupin, Raymond and DeCorse, Christopher. (2012). Anthropology: A Global Perspective. (7th Edition). Boston, Ma: Pearson Education, Inc. Pages 218-220. How to cite Cultural Diversity, Papers Cultural Diversity Free Essays Race defines me as Mexican, German, and Irish. My religion defines me as Catholic. My country of birth defines me as American. We will write a custom essay sample on Cultural Diversity or any similar topic only for you Order Now However, I believe these terms describing me, merely list historical facts and statistics. The fact remains; I belong to these various groups by birth, not choice. I believe I am fortunate that my family instilled the understanding of diversity as far back as I can remember. Each of the people who raised me contributed to my value set in different ways. In addition, and most important, my personal experiences helped me to discover and appreciate diversity. I hail from Santa Ana, California where Hispanics make up 76. 1% of the city’s population, according to the U. S. Census Bureau (2009). In addition, my Mexican American grandparents primarily raised me. The neighborhood I where I lived consisted of fellow Hispanics and distant relatives. The Hispanic influence shaped my strong family values and racial identification. My grandparents truly believe that regardless of circumstance, family is first and above all else. The fact they raised me and still enjoy my company today is a testament to this teaching. Growing up with my grandparents meant, in addition to lifelong allegiance to family, a strong religious set of values. I was sent to Catholic school along with my cousins, taken to mass every Sunday, and prayed the rosary in hopes of keeping me safe from sin. I do appreciate the cost relating to my education; however, I am afraid it only served to strengthen my current beliefs. Specifically, that religious intolerance is unacceptable. Religious beliefs are individual. No religion is correct or incorrect. My grandparents grew up and survived an era of intolerance and prejudice. In spite of their experiences, they instilled in me values of tolerance and acceptance. My father, former â€Å"hippy,† is also responsible for my belief that, a person’s place of birth or color of skin is of no consequence. In my opinion, this teaching is the most valuable and relevant today. My second husband and I am an interracial couple. We share the same values, beliefs, and morals. The only differences we have relate to color and religious background. Thankfully, I was taught to value the person, all else is irrelevant. Through my husband, I learned that familial tradition influences religious and social beliefs. After several debates, I recognized that I was not as open-minded and tolerant as I believed. He helped me to accept myself given both, the negative and positive experiences in my life. Through him, I learned that to accept others, I had to accept myself. For me, this realization was monumental. Whereas I hold close the family values and acceptance taught to me, I realize that my diversity is due to my personal perspective. My grandparents could never teach to me the understanding of addiction. However, my father, through his own addiction taught me sympathy for those suffering from their own conflicts. I wore my father’s addiction as if the addiction were my own until I realized my siblings wore the same shame. I never understood loss of faith until I met a colleague who lost hers. Her experience helped me to understand how people are broken to the point of non-belief. I first married a person most resembling myself in terms of race and religion. However, I learned quickly that these commonalities do equal a match made in heaven. I went to school with people who came from wealth while I suffered poverty. Through these classmates, I learned that money does not magically equal happiness. My experiences do not necessarily relate to a specific culture, but do relate to understanding. I cannot make determinations upon anyone until I have experienced his or her same set of circumstances. I make no distinction between people based on religion, race, nationality, or sexual preference. I believe that each person has a purpose, even those who disturb me. By that, I mean, each person serves to strengthen beliefs or change our minds. Each experience with someone different is an opportunity to learn a new perspective. In my family, we married into various races, befriend people of various beliefs and religions, and enjoy the company of others regardless of association. Cultural diversity, in my opinion, is a two- word phrase describing understanding. I believe that I am not a product of pluralism, for I do not believe that cultural or ethnic values bind us (Kottak Kozaitis, 2003). Assimilation does not fit my values or beliefs, because I do not believe that a single culture describes my upbringing. I believe that, based on my statistics, I am multicultural. However, based on my beliefs, experiences, and perspectives, I am simply diverse. References U.S. Census Bureau. (2009). State County QuickFacts. Retrieved October 1, 2009, from http://quickfacts.census.gov/qfd/states/06/0669000.html Kottak, C.P., Kozaitis, K.A. (2003). On Being Different: Diversity and Multiculturalism in the North American Mainstream (2nd ed.). New York: The McGraw-Hill Companies How to cite Cultural Diversity, Papers Cultural Diversity Free Essays Importance of Understanding Cultural, Ethnic, and Gender Differences by Managers and Professionals in a Business Setting Abstract Diversity in the workplace is one of the most critical challenges facing organizations today. When ignored or mismanaged, it brings challenges and obstacles that can hinder the organizations ability to succeed. For this reason, workshops, training programs, and college courses have been implemented to offer a copious amount of information on understanding and managing diversity as a success key to be competitive in this complex world of business. We will write a custom essay sample on Cultural Diversity or any similar topic only for you Order Now Managing diversity is a continually evolving process targeted at improvement for the success in the organization. The world’s increasing integration requires more interaction among people from diverse cultures, beliefs, gender and backgrounds than ever before. People no longer live and work in a small marketplace and they are now part of a worldwide economy with competition coming from nearly every continent. For this reason, organizations need diversity to become more creative and receptive to change. Managers are the front line operators because they need to recognize the ways in which the workplace is changing, evolving, and diversifying. Since managing diversity remains an important organizational challenge, managers must learn the managerial skills needed in a multicultural work environment. Managers must be prepared to teach themselves and others within their organizations to value multicultural differences in their employees so that everyone is treated with dignity. Diversity is the presence of people from a wide range of backgrounds and possessing different traits. Differences in age, race, ethnic origin, culture, physical abilities, religion and sexual orientation are just some possible contributors to diversity (Neil Kokemuller and Demand Media, 2012). The need to understand diversity is also driven by women in the workplace. Today’s workforce has the highest levels of employment participation ever by women. The number of dual income families and single working mothers has increased. Women are no longer considered inferior to men and are seen more as a professional instead of something pretty to look at. Therefore, diversity issues cut across both race and gender. Also in order to ensure that people work together towards your business objectives in a positive environment, managers need to be aware of the existence and importance of culture and ethnical diversity. It often develops in the organization without the managers being aware of the change. Because employees adjust to a certain way of working and new staff is being taught to adjust to this culture. An example of this practice is the class assignment â€Å"Let’s Be lefties for a day†. As majority of society are right-handed we expect the lefties to adjust to our way of living. It is traditional and socially acceptable in most countries for a handshake to be made with the right hand. We understand that a left-handed handshake is used as a recognition device by some secret societies and has â€Å"sinister†. For example, in Latin, the word for â€Å"left† is sinister, which has come into English meaning â€Å"evil. † The French word for â€Å"left† is gauche, which in English means â€Å"awkward â€Å"or â€Å"tactless. † The English word left comes from the Old English left, meaning â€Å"weak† (Kalilich, 2003). It was very hard for me to adjust (well I didn’t) for the few hours that was attempted. The assignment provided awareness about lefties and the obstacles they go through on a daily basis. Did you know that lefties cannot play the sport polo? And there are many other things that they cannot do or have to adapt to because they are not the majority. Therefore, education in diversity can help you to attain the organization objectives. Cultural change programs might be difficult to initiate and getting key staff on your side are crucial. Unfortunately, there is no recipe for success in the organization to accomplish this. It mainly depends on the manager’s ability to understand what is best for the organization based on teamwork and the dynamics of the workplace. According to Roosevelt (2001), managing diversity is a comprehensive process for creating a work environment that includes everyone. When creating a successful diverse work environment, an effective manager should focus on personal awareness. Both managers and employees need to be aware of their personal issues. Organizations need to develop, implement, and maintain ongoing training because a one-day session of training will not change people’s behaviors (Roosevelt, 2001). In conclusion, a diverse workforce is a reflection of a changing world and marketplace. Respecting individual differences will benefit the workplace by creating a competitive edge and increasing work productivity. Diversity management benefits employees by creating a fair and safe environment. Management tools in a diverse workforce should be used to educate everyone about diversity and its issues, including laws and regulations. Most workplaces are made up of diverse cultures, so organizations need to learn how to adapt to be successful. References Kalilich, Jordon (2003). Being Left-Handed. One Lefty’s General Thoughts, Opinions, And Stuff. Retrieved November 2, 2012 from http://www. theworldofstuff. com/lefty/ Kokemuller, Neil (2012). What Is Diversity and How Does It Impact Work? Retrieved October 31, 2012 from http://smallbusiness. chron. com/diversity-impact-work-15985. html Roosevelt Thomas, R. Jr. (2001). Elements of a successful â€Å"diversity† process. The American Institute for Managing Diversity. Retrieved November 2, 2012 from http://www. aimd. org/articles/elements. html How to cite Cultural Diversity, Essay examples Cultural Diversity Free Essays Culture is the learned set of socially acquired traditions, lifestyles and behaviours, that are passed down from generation to generation. (Miller, 2007) These include patterns and ways of thinking, beliefs, knowledge, art crafts, morals , and customs. In early childhood settings educators regularly come across children that belong to a different race, ethnicity or religion . We will write a custom essay sample on Cultural Diversity or any similar topic only for you Order Now (Ramsey, 2004). Children that come from a different cultural and linguistic background can have a positive or negative experience depending on the environment and the teaching practices that early childhood educators provide for them. When children get to know their own culture and see it that it is respected they develop a sense of belonging (Kaiser Rasminsky, 2003). Developing strategies where children can be exposed to their own culture and language helps them and their families to gain a sense of belonging. Promoting an anti bias practice is a strategy that provides children with a solid understanding of equality and illuminates positive factors about coming from a different culture. (Miller, 2007). Anti bias practice also promotes self esteem and shows that children have individual differences that should be respected and acknowledge. Due to the fact that New Zealand is a country of migrants and possesses a multicultural background the early childhood curriculum, Te Whariki, promotes the diversity of cultures. (MoE, 1996) To support children and families that come from different cultures teachers should make use of different strategies to promote multicultural education. Involving parents that come from different cultural and linguistic backgrounds is a way of supporting the family so that the child feels more involved in the centre. (Gerrity, 2003) This could be done by inviting them in to the classroom to teach some basic home language words, or showing pictures of their country along with art, crafts, food or traditional clothing. Showing the social and developmental progress of their children through profiles which contain photos and art work of the children can be a helpful tool for parents for whom English is not their first language as this allows them to be involved with their child’s education. Language can be a big barrier for children that do not speak English as their first language. Children may suffer from social isolation when their language is not available. (Tabors,1998) Using a lot of body language, giving simple instructions and repeating key words and sentences are some strategies that teachers can use to break this isolation. (Tabors, 1998) Other strategies that can be included are playing the child’s home language music and using games that can represent words in both languages like matching games with shapes, parts of the body or clothing items. Teaching children some basic words such as those needed for the toilet, food, drink or sleep is a strategy that makes children feel more secure about themselves and allows them to feel that they belong to the centre community. Early childhood educators are responsible for teaching children and caring for their development regardless of their cultural and linguistic background. (Elliot, 1999) Teachers can identify the needs of different cultures in New Zealand such as Pacific , Asian communities or refugees by working together with their families and learning from their culture.(New Zealand Tertiary College [NZTC],2007). Bringing the culture of the child into the centre is another useful strategy. Physical settings are a tool that teachers can use for children to learn about different cultures.(Ramsey, 2004) These settings can display multicultural environments which display pictures or photographs of landscapes and people, art crafts and language signs so the classroom and staff can learn from the culture and be involved. Books that describe stories, myths and legends and social issues of a culture can be a helpful strategy that promotes language skills and meaningful learning of a different culture. Educators can also promote a multicultural curriculum by creating classroom environments and providing activities where children can work in a cooperative way and where they can develop a sense of empathy and acceptance of each other regardless of different cultural and linguistic backgrounds, as well as communication and social skills. (Ramsey, 2004) Strategies that support children’s different linguistic and cultural backgrounds should be woven throughout all curriculum areas and everyday activities (Miller, 2007). Teachers should make sure that all those strategies enable the development of a sense of belonging in children with different cultures should be implemented in the planning, assessment and evaluation cycle to reach a positive outcome in the social development and learning process of the child. Supporting children and families with different cultural and linguistic backgrounds and developing strategies that provide a sense of belonging is a way to acknowledging the unique culture and individuality of each child and therefore it should be celebrated and included into teaching practice. How to cite Cultural Diversity, Essay examples