Retorhical Argument

Zoe Mojica Ryan Grandik English Comp. II February 27, 2013 Rhetorical Analysis (why violent video games are good for girls) Student Carmen Tieu, in her opinionated article, â€Å"Why Violent Video Games are good for Girls† expounds upon the idea that violent video games are good for girls. Tieu explains that violent video games boost confidence in women. She goes further on to say that it makes aware of the different socialization processes of men and women. Tieu begins by telling a short story about her gaming life. She is attempting to give you a peek into her mind about being a girl playing first person shooting games.She begins to reveal that men and women are socialized differently by using the aggressive chatting being done before the game begins. Tieu speaks to us in this manner to help us experience what it is like to be a girl and to be playing the violent first person shooting games. The way she is saying this makes it seem as though all males playing these games all act in such ways. The way that Tieu tells her story in the first paragraph gives us a more biased or more sympathetic affect to her cause. After Tieu finishes her first person perspective of the shooting games, she begins to say that girls are socialized into more docile activities.The language of the text that the writer is using is trying to make you more sympathetic towards her goal of this paper. Her word choice is meant not only for you to be sympathetic but to cause vexation. Tieu illustrates how society thinks that women shouldn’t and can’t play video games by saying they â€Å"objectify women† and the â€Å"violent† nature â€Å"repulses† girls. Tieu creates this tone by saying â€Å"Girls are socialized into activities that promote togetherness and talk, not high intensity competition involving fantasized shooting and killing. † Tieu continues to explain that women can play, and be just as good as men in violent video games.Carmen Tieu says that playing first person shooting games are empowering because it gives girls a chance to beat the boys at their own game. Her overall tone is meant to excite and make you want to play first person shooting games such as her quick and instinctual reactions using both joysticks. The author creates a very powerful environment when she explains how she gets an adrenaline rush beating testosterone driven men at something they are supposed to â€Å"excel† at. The writer creates a passionate diction when she uses the â€Å"savor† and â€Å"horror† and â€Å"completely destroys them†.The author furthers the goal of her paper by making her victory seem so empowering. Tieu proceeds in this paragraph by elaborating on how women can be made more confident in other aspects of life by playing violent video games. She says that when women play video games they are freed of the stereotype that women are meant to be soft and motherly figures. She claims that s he doesn’t reject these because she is a vegan and a tree hugger, but by saying she understands the opposing view makes it easier for the reader to stay on her side as to why video games are good for girls.She goes into further detail by saying it has psychologically helped her because she is aware that she can beat males at â€Å"their own game† claiming that it gives her more confidence in the male dominated academic field of math and science. Tieu says in this paragraph that playing video games has given her a different way of bonding with guys. She uses the example that a man gave her his respect for playing video games but goes on to say that he didn’t really respect women in general but we can’t really tell if he’s that kind of man just by one sentence.Showing the â€Å"lack of respect† he had towards women, she goes on to say since she started playing video games men have a different way of talking to her. Her way of saying â€Å"You get joy from perfecting your skills so that your high-angle grenade kills become a thing of beauty. † makes it seem as though it becomes a boost of confidence much like winning in a physical game. Tieu begins this paragraph by saying violent video games give girls an insight to a disturbing part of the male subculture. She uses words like â€Å"homophobic† and â€Å"misogynistic† to describe how the men react when they are playing such violent games.She describes them in a way that makes all men who play video games seem as though they downgrade any player who is below or even above them. She goes on to say that when she beats her male friends they are embarrassed by it which turns them into â€Å"testosterone driven macho men. † Tieu suggest that when men are around a female one on one a softer side of them comes out. She also over uses the word â€Å"macho† which creates a dual reality of how men can be a lot shallower when playing first person s hooting games. By her using the words to be a real man† she gives the claim that when men are around other men they have to pretend to be far more manly versions of themselves then what they really are. In contrast though, men are able to act like their true selves when they are one on one with women. When she uses those words to create the dual reality between a real man and a fake man she’s creating a tense environment and leaves us with an open question: Which man is the real man? In this opinionated article, â€Å"Why Violent Video Games are good for Girls†, Carmen Tieu argues how women should play violent video games.She uses diction and tone to help promote her argument. Throughout this article, she lets the reader know how much she has learned about the two natures that men display. Her words show how proud she is that she is able to recognize this difference in behavior and that she did not succumb to this, â€Å"ugly phenomenon†. The overall tone of the paper was persuasive and led you to be sympathetic to her cause. The type of language that the author uses helps to further enhance the argument. Through rhetoric devices Carmen Tieu solidifies that video games can boost confidence in women and that men and women are socialized differently.

Is Macbeth a true tragic hero? Essay

Amongst all of Shakespeare’s tragedies, Macbeth is the most inconsistent and fragmented. Like the mental state of the protagonist, the tragic structure of the play is in disarray from the very onset. According to Aristotle, all tragedies must follow a certain set of characteristics, and the most important of these is the presence of a tragic hero. This tragic hero must possess a tragic flaw, or hamartia, which is a good quality taken to such an extreme that it now exhibits immoral behaviour from the hero. He must also draw sympathy of his plight from the audience. Macbeth, although the protagonist, is not a tragic hero because he does not possess this hamartia. This significant absence of a flaw leads to his actions being without justification, drawing no sympathy from the audience. Because Lady Macbeth’s love for Macbeth acts as a tragic flaw by ultimately bringing about her downfall and extracting a great amount of sympathy from the audience, she exhibits attributes m ore tragically heroic than Macbeth. Macbeth is the protagonist of Macbeth because the play is inexorably tied to his actions. A protagonist is defined as â€Å"the leading character of a literary work†. In Shakespearean tragedies, the protagonist must also be from the nobility and possess exceptional character and vitality. One need not look farther than the title to determine Macbeth’s importance in the play. While the title does not necessarily provide fair judgement of content, Shakespeare has an uncanny habit of titling his tragedies with the name of the protagonist: Hamlet, Romeo and Juliet, King Lear, Julius Caesar and Othello are examples. As the play commences, farther evidence of Macbeth’s importance is apparent through the witches’ subject in the very first scene: â€Å"There to meet with Macbeth† (I.i.7). It is for Macbeth that they will gather upon the heath, and he upon whom their efforts will be focused. In the next scene, Macbeth’s nobility is confirmed through Duncan’s heartfelt â€Å"O valiant cousin, worthy gentleman!† (I.ii.24). The exclamatory nature of this sentence testifies Duncan’s affiliation with, and high regard for, Macbeth. After the victorious battle, Ross describes Macbeth as â€Å"Bellona’s bridegroom† (I.ii.54), an allusion meaning the husband of the Goddess of War, thus establishing him to be of exceptional character and vitality. Macbeth’s role as the protagonist is therefore legitimized through other’s perception of him and his own noble character. While Macbeth is the protagonist and therefore meant to be the tragic hero, the glaring absence of a tragic flaw in his character prevents his recognition as thus. A tragic flaw must be a good quality taken to such an extreme that it now exhibits immoral behaviour. Macbeth has many flaws, a hunger for power and a belief of superiority among them, yet none of these are tragic flaws because they do not have the ability to be virtuous qualities. This leaves ambition and imagination as the main competitors. Ambition cannot be Macbeth’s tragic flaw because he recognizes it in his confusion soliloquy even before he kills Duncan:I have no spurTo prick the sides of my intent, but onlyVaulting ambition, which o’erleaps itself,And falls on the other. (I.vii.25-28)When Lady Macbeth questions Macbeth’s intentions right after the deliverance of this soliloquy, the recognition of his ambition leads him to a decisive â€Å"We will proceed no further in this business† (I. vii.31). The reason he later kills Duncan is because Lady Macbeth appeals not to his ambitious nature, but to his pride. She accuses him of being â€Å"a coward in [his] own esteem† (I.vii.43) and weak in manliness: â€Å"†¦you would/Be so much more the man† (I.vii.50-51). It is not ambition, but a wounded pride and an inbred impulse to unquestioningly follow his wife that leads Macbeth to finally commit the deed that ultimately brings about his downfall. Yet pride is also not his tragic flaw because it does not spur any of his other great crimes. While pride triggers, but is not the cause of, Macbeth’s downfall, an active imagination is not the tragic flaw because it merely serves as an instrument to illustrate that a character is in a confused state of mind. Macbeth is self-doubting all through the first three acts of the play; in his lines following the witches’ initial prophecies, he states â€Å"Come what come may† (I.iii.146), portraying his lack of wilful decisiveness. Yet after the witches’ second set of prophecies, he takes decisive measures to â€Å"crown [his] thoughts with acts† (IV.i.149), and his imagination vanishes. Similarly, Lady Macbeth’s first statement of â€Å"Glamis thou art, and Cawdor, and shalt be/What thou art promis’d† (I.v.15-16) establishes her steely resolve. She is practical and untroubled by any visions. When she realizes the extent of the damage she has caused, however, her imagination takes full reign. In the sleepwalking scene, she is depicted as a broken figure,  tormented by imaginative hallucinations. In both cases, imagination comes along when the character is in a disorderly state of mind; therefore, imagination, like ambition, is not Macbeth’s tragic flaw, testifying that Macbeth does not possess one and therefore is unrecognizable as a tragic hero. Macbeth’s lack of such a flaw deems all his heinous actions without justification, and as a result, draws no sympathy from the audience. The blame for his lapse in character can be placed upon nothing but his own non-tragic flaws. He is depicted as a cowardly man: he kills Duncan because of his inability to make decisions for himself; Banquo out of paranoia: â€Å"our fears in Banquo/stick deep† (III.i.49-50) he says, before ordering the murderers to kill his former friend; and Lady Macduff and her son out of spite: his true quarrel is with Macduff, however as he realizes that the nobleman has escaped his clutches, he proceeds to â€Å"give to the edge o’ the sword/[Macduff’s] wife [and] his babes† (IV.i.151-152). Macbeth’s central desire, the want to safely be king, is born of nothing more than despicable cowardice. The audience gets a sense of this despicability in Macbeth’s character firstly through the witches’ mention of hi m: â€Å"There to meet with Macbeth† (I.i.7). By associating him with the witches so early, Shakespeare foreshadows Macbeth’s later affiliation with them. Lady Macbeth recognizes cowardice and ineptitude in Macbeth: she calls him â€Å"Infirm of purpose!† when he is unable to carry out the plan of killing Duncan to her perfection. It seems that Shakespeare attempts a sympathy-inducing endeavour through Macbeth’s â€Å"Will all great Neptune’s ocean wash this blood/Clean from my hand?† (II.ii.60-61). This attempt backfires however, because instead of showing Macbeth in a remorseful light, the irrepressible imagery of blood only serves to farther exemplify the wrongs he has wrought and how disastrous they are to his moral being. As the plot furthers, Macbeth’s crimes pile up, from belittlement, to hypocrisy, to bare-faced lying, and finally to treacherous murders. Even in catharsis he is despicable; his first words upon realizing the truth about the witches are â€Å"Accursed be that tongue that tells me so† (V.viii.17), cursing others instead of himself for the dreadful deeds he has committed. This is not pitiful, but repulsive. These crimes all sprout from the regicide at the beginning, and since this  first terrible crime lacked purpose, the others do so too. From the very onset, Lady Macbeth is sharply contrasted with Macbeth because she possesses this purpose, driven forward by her love for Macbeth. This love is her tragic flaw because it leads to her ultimate downfall. She does not want Macbeth to be king because of some ulterior motive; she wants it for his benefit. Nowhere in her first soliloquy, in which she speaks to herself and need not hide her true thoughts, does she mention the want of greatness for herself; instead, she refers to Macbeth and says, â€Å"Thou wouldst be great† (I.v.18) and â€Å"Thou ‘ldst have [the crown]† (I.v.22), proving her loyalty to Macbeth’s cause for his sake. She proceeds then to call upon â€Å"spirits/That tend on mortal thoughts† (I.v.40-41) to rid her of all kindness, gentleness, sensitivity, sweetness, and pity that accompanies her womanly nature, all the better to kill Duncan. This is not a small sacrifice on her part, as seen later through the repercussions it has on her conscience. After Macbeth becomes king and begins isolating Lady Macbeth, the once resolute woman is portrayed as a powerless being, unable to survive without the husband that once loved but now alienates her: â€Å"why do you keep alone?† (III.ii.8) she asks him after having to request a meeting to speak with him. During the banquet, she is seen to jeopardize her reputation as a graceful hostess to protect Macbeth: â€Å"Stand not upon the order of your going,/But go at once† (III.iv.85), she says to the noblemen. It is Lady Macbeth’s tragedy that she sacrifices so much for the love of a husband that will not confide in her anymore, and this love is much more sorrowful than the alleged tragedy of Macbeth, which is born from his cowardice. Because her tragic flaw is something pure and good, her demise is so heartbreaking, so utterly tragic, that it draws an unequalled amount of audience sympathy. The infamous Sleepwalking Scene, the last presence of Lady Macbeth in the play, shows that she has reached the very bottom of the pit of tragic downfall that she started falling down at the beginning of Act III. It is a reflection of her mental and emotional state that she speaks in prose instead of iambic pentameter in this entire scene. While Macbeth, previously occupied by horrible hallucinations, has now dulled his ability for feeling horror, Lady Macbeth has done the opposite. This role-reversal  leaves her in a state of severe trauma, exposing her inner thoughts and feelings. The gentlewoman’s words of â€Å"This is [Lady Macbeth’s] very guise, and, upon my life, fast asleep† (V.i.20-21) depict Lady Macbeth’s trauma as being so great that she cannot escape it even in sleep. This is decidedly more sympathy-inducing than Macbeth, who, the last we saw of him, had ordered the brutal murders of an innocent lady and her unguarded son (IV.i.150-154). While Macbeth seems intent upon bloodying his hands remorselessly at every opportunity, it is ironic that Lady Macbeth vigorously rubs her hand to get them rid of Duncan’s blood: â€Å"It is an accustomed action with [Lady Macbeth], to be seen thus washing her hands† (V.i.29-30). This irony excites audience pity for Lady Macbeth as she is clearly disillusioned and has reached her tragic recognition much earlier and more genuinely than Macbeth does. The imagery of blood that is present throughout the play now reaches a climax as well: Lady Macbeth’s obsession with her figuratively blood-stained hand is revealed through her anguished cry of â€Å"Out damned spot!† (V.i.35); she rhetorically asks, â€Å"Yet who would have thought the old man to have had so much blood in him?† (V.i.39-40), then notes that â€Å"the smell of the blood† (V.i.50) is still rampant. This blood symbolizes the guilt that she is burdened with, even years after the murder she helped orchestrate, contrasted with the remorselessness of Macbeth. The gentlewoman, innocent of the crime her lady has committed, still says, â€Å"I would not have such a heart in my bosom for the dignity of the whole body† (V.i.54-55). It can be deduced that the status-deprived gentlewoman does not wish to have the status of a queen if it means feeling the sorrow of Lady Macbeth. This clearly illustrates that our heroine, the true tragic character of the play, is very broken, only because of the great love she has for her husband. Love is not a crime, and this makes her predicament all the more sympathetic. Macbeth is clearly a tragedy, yet it is tragic more because of the role of Lady Macbeth than that of Macbeth himself. The love that propels her change from a strong, sensible character to one overwrought with guilt is much more tragic than Macbeth’s character change, propagated by his cowardice and incompetence. In a play about disorder and ambiguity, where â€Å"fair is foul and foul is fair† (I.i.11), it is only fitting that the role of the tragic  hero is also clearly ambiguous. It seems that Shakespeare involved himself so much in creating perfect ambiguity that he let the tragic structure of the play become quite ambiguous as well. Bibliography Agnes, Michael, ed. Webster’s New World College Dictionary. 4th ed. Foster City: IDG Books Worldwide, Inc., 2001. Shakespeare, William. Macbeth. Mississauga: Canadian School Book Exchange, 1996.

Organ Of Organ And Tissue Donation - 1771 Words

Organ and tissue donation can be defined as the removal of organs and tissues from either a living donor s body or body of a patient who has recently died and transplanting the anatomical gifts into the body of the recipient (Frey and Waun n.p.). Donation has continuously verified itself in the science world as an exemplary form of medical treatment. Based on the advancements in donation over the years, one can expect further amendments to be made to the life-saving treatment in such high demand today. Various circumstances, such as an increase in obesity and life expectancy, have become primitive factors in determining the demand for organs. The ever-growing need for transplantable organs increases daily, which in turn is accountable for†¦show more content†¦Two discoveries that have aided in solving this factor are tissue typing and Jean Borrel s discovery of cyclosporine, an immunosuppressant drug which prevents the immune system from attacking the new organ (Corr n.p.). With organ donation steadily increasing in success, more patients are added to the waiting list every day in hopes of receiving a surgery that will save their lives. The practice of organ and tissue donation requires regulation and legislation to ensure the rights of the donor and recipient are protected throughout the entire process. Because of the scarcity of human organs in the United States, the government created the Uniform Anatomical Gift Act (UAGA) in 1968 to standardize the distribution of organs throughout the country (Organ Donation). Prior to the UAGA of 1968, there were no federal laws concerning donation, and donations were conducted at the state level (Organ Donation). The UAGA of 1968 proved to be efficient in the distribution of organs, but the system needed modifications to meet the high demands of transplants. The original UAGA lacked policies regarding the ethical issues that arise when in the donation process. After being revised in 1972 and once again in 1987, the UAGA added new policies to further improve donation in the United States. The new policies explicitly prohibited the selling of human organs, honored the descendan t s wishes over the familyShow MoreRelatedOrgan Donation Is The Surgical Removal Of Organs Or A Tissue Transplant?1430 Words   |  6 PagesOrgan donation is the surgical removal of organs or a tissue transplanted to another for the purpose of exchanging a failed organ injured by disease or injury. Organs and tissues that can be transferred are liver, kidneys, pancreas, heart, lungs, intestines, cornea, middle ear, skin, bone, bone marrow, heart valves, and connective tissues. Each person regardless of age can consider themselves a prospective donors. Before one dies, he/she is assessed to see if they might be appropriate for organ donationRead MoreTissue Engineering in Replace of Organ Donation1353 Words   |  5 PagesOrgan donation provided a new therapeutic path when new drugs and devices failed to reduce the mortality and morbidity rate of patients with such illnesses as cardiovascular diseases. By replacing damaged organs or tissue with a functioning substitute, organ trans plantation offers an immediate cure. Unfortunately, this â€Å"cure† is never guaranteed because of the high risk of graft rejection and that’s if a suitable donor can be found. Thus, tissue engineering has been the projected new treatmentRead MoreOrgan, Eye, And Tissue Donation And Transplantation1808 Words   |  8 Pages â€Å"Organ, eye, and tissue donation and transplantation provide a second chance at life for thousands of people each year. You have the opportunity to be one of the individuals who make these miracles happen† (Transplantation). But, what about the fine print? We are accustom to hearing tv ads and marketing analysts expose organ donation on it’s postitivity, yet we rarely hear the cons. Are we not subjected to hear the truth, in its totality. Or, should we succumb to the thought of the good deed weRead MorePersuasive Speech : Organ Donation1335 Words   |  6 Pagesto make. C. My name is Morgan Silva and I am here to talk to you about organ donation, how you can become one, and the ways your family and donor recipients benefit from the donation you made. II. Body A. People often ask themselves what organ donation is and what it involves. 1. According to Medline Plus, organ donation takes healthy organs and tissues from one person for transplantation into another. a. All kinds of organs can be donated to save a life: the kidneys, the heart, the liver, the pancreasRead MoreInformative Speech Organ Donation and Transplant Essay1042 Words   |  5 Pagestwo hours someone dies waiting for an organ transplant. 18 people will die each day waiting for an organ. One organ donor can save up to 8 lives. . THE NEED IS REAL In Jan 2006 I began to lose my eyesight. A year later I became a candidate for cornea tissue transplant. I am a cornea tissue transplant recipient. As a result I felt is necessary to inform you about the history and facts on organ donation and transplantation. C. Audience Adaptation – Organ transplantation represents a unique partnershipRead MoreOrgan Donation Essay1194 Words   |  5 PagesOrgan Donation Today in the United States there are thousands of people currently waiting for some type of transplant. If one were to ask a group of people if they have friends or family who have either had a transplant or are waiting for one, one would find that most people know at least one person who has had a transplant or is waiting for one. Transplantation is a great advance in modern medicine. The need for organ donors is much larger than the number of people who sign up to donateRead MoreOrgan Donation And Its Effects On The Donor Essay1694 Words   |  7 Pagesmortal donation also takes away any chance of effects on the donor. Since the donor is deceased, there is no worry of the effects because of two reasons: they are no longer living and they have no use for their viable organs anymore. With the several pros and cons of postmortal donation, comes the different aspects of inter vivos donation. When organs are taken from living donors and are transplanted there are also several pros and cons present. One disadvantage in live organ donation is the effectRead Moreorgan donation1007 Words   |  5 Pagesyou would help someone after you have passed on. Organ and tissue donation is a topic that does not get enough attention. Ninety-five percent of Americans say that they support donation yet the number of registered donors is much smaller (www.organdonor.gov). Anyone can sign up to be a donor. After death you can donate your organs. Each day 18 people will die waiting on organs. Tissues are also able to be donated. The age of donation do not matter. Some mothers donate the blood of theRead MoreOrgan Donation1090 Words   |  5 PagesTopic: Why organ donation should be mandatory Audience: College Students General Purpose: To persuade Specific Purpose: To persuade people to want to become an organ donor and the benefits of being one Proposition: You should become an organ donor Organizational Pattern: Statement of logical reasoning Introduction: Attention Getter: Organ donation is an amazing thing, saving many lives every year. Roughly 152,000 people die every day and 55 Million die each year yet, there is 116,000 peopleRead MoreIs Organ Donation Ever Not Accepted?1221 Words   |  5 PagesOrgan donation is a successful process of removing tissues or organs surgically from one person to another (Cleveland Clinic, 2013). Many questions based on organ donation run along the lines of why people do not donate, but many do not realize that not everyone is allowed or able to donate because some people are not physically capable to have a successful transplant (Prigent et al., 2014). Meaning that the donor’s organs are too weak, or the donor’s organs are too old, in some cases the donor and

The Unimportance of Riches in a Relationship, Portrayed in...

Leo Rosten once said, Money cant buy happiness. Janie from Zora Neale Hurstons, Their Eyes Were Watching God, would agree with this famous quote. Janies first husband is financially stable and her second husband is powerful; but it is with her third marriage where she finally experiences happiness and receives respect. Through the first two marriages, we see how worldly desires and pride can ruin a relationship. Ultimately, Hurston portrays that equality in a relationship truly nourishes a bond far more valuable that materialistic possessions or reputations. Janie in her first marriage is her far from mesmerized with her husbands 60 acre land. The incompatibility between her and Logan ultimately cause the marriage to fail. Logan†¦show more content†¦This makes Janie feel like he does not care about her and that she is wasting her time with him. His lack of communication with Janie symbolizes the despair and emptiness she feels in their marriage. He does not open up to her an d so of course the marriage will not work out. Hurston ultimately portrays how unhappy Janie is when she leaves Logan so easily the day after she brought up the topic of her leaving: Janie hurried out of the gate and turned south (Hurston 32). Janies attraction to Joe Starks charisma quickly diminishes when his overdose of ambition and controlling personality get the best of him. Although he is a big voice in the town, Janie only sees him as a big voice. All his money and power have no effect on her when all he does is ridicule and control her. He makes it clear where Janie belongs: Ah never married her for nothin lak dat. Shes uh woman and her place is in de home (Hurston 43). This is ironic because when she is with Logan, she wants to be in the house doing her own thing, but Joe is making it sound like confinement. Its as if she has no choice in the matter and Joe intends to make his power over her known. People have different desires and sometimes when we get caught up in our su ccess, we can end up hurting others. Joes reply to Janie is a great example of the insensitivity that can form from the pride we can possibly inherit when we achieve success: Ah told you in de first beginnin dat Ah aimed tuh be uh big voice.

The Death Of A Shoemaker And The Tea Party By Alfred F....

The American Revolution, today, is seen as a memorable event in history. It was a war against Britain for the independence of the thirteen colonies that began in 1775. Before the American Revolution began, there was a lot of conflict between the colonists and British authorities. The British raised revenue by establishing Acts such as the Stamp Act of 1766. The colonists were against it and tried revolting against Britain, leading to the Boston Massacre in 1770 of British soldiers shoot colonists and killing a few men. The colonists also retaliated against the taxations by dressing up as Indians and throwing tea into the ocean. Parliament began establishing acts known as the intolerable acts, which led to the revolution. In The Shoemaker and the Tea Party by Alfred F. Young, the author introduces and describes the life of a shoemaker, George Robert Twelves Hewes, and the events he was a part of leading up to and after the American Revolution. He shows the different meanings of the Re volution to people according to their perspective and view on society. The Excerpt from â€Å"Accounts of George Robert Twelves Hewes as Told to James Hawkes† by James Hawkes is a secondary source of what Hewes has told Hawkes about his memories of the Boston Massacre. Michael D. Hattem, however, gives a more contemporary view on the American Revolution in his article, â€Å"The Historiography of the American Revolution.† Though the course of history, the meaning of the American Revolution and the eventsShow MoreRelatedShoemaker and the Tea Party Essay1788 Words   |  8 PagesBoston shoemaker, who at the age of twenty-eight witnessed four of his closest friends shot to death by The British red coats; he also participated in many of the key events of the Revolutionary crisis.1 Hewes recollections of the events that took place were passed along in the monograph The Shoemaker and the Tea Party: Memory and the American Revolution by Alfred F. Young. His recollections of the dumping of the tea into the harbor lead the reemergence of how significant the dumping of the tea wasRead MoreThe Boston Tea Party Was A Key Event That Helped Propel The American Revolution1376 Words   |  6 PagesThe Boston Tea Party was a key event that further escalated tension between colonists and the British government which helped propel the American Revolution. With tensions rising due to a long list of taxes issued from Parliament in the past thirteen years, colonists felt an increased need to protest against subordination to Britain. At the time, Britain was repaying war debts and felt that they were entitled to the right to tax the colonies since they funded their expeditions. HoweverRead MoreExploring Corporate Strategy - Case164366 Words   |  658 Pages. . . Dance music came from an underground culture and was about being edgy and anti-establishment. At the height of superclub-dom, a club would be  £25 to get in and be full of slightly-older people, glammed up and wearing crap labels. If you are young and want to be cool, you are not going to buy into that.5 For many aï ¬ cionados, the last straw was when the Sugababes got crowned the ‘Best Dance Act’ of 2003. At the end of 2002, Palumbo was obliged to close down his ï ¬â€šagship magazine, Ministry.

Sustainable Accounting and Reporting

Question: What is the Sustainable Accounting and Reporting ? Answer: Introducation The article revolves around the issue of stakeholders engagement where organizations involve relevant stakeholders in the achievement of targeted outcomes. They further continue to argue that stakeholders are involved in different ways in an organization such as identification of issues that are significant, the companys performance and the strategy to communicate the performance. Hence, stakeholder engagement tends to have enormous significance such are equitability and sustainability, better management of risk, allows pool of resources and understanding of complex environments (Rinaldi et al, 2014). Additionally, its evident that stakeholder engagement and dialogue tends to have a significant role for instance, there could be management of projects in community planning. Hence, we could state that when fulfilling stakeholder engagement there is also the need of having a transparent and sustainable accounting process. The article has further focused on some principles of responsible investments such as incorporation of ESG into ownership policies and practice, seeking appropriate disclosure, promoting acceptance and implementation and reporting of activities for implementation of principles (Rinaldi et al, 2014). There is also empirical research by Archel et al (2011) on governmental CSR programs which shows that stakeholder consultation was a problematic practice. Evidence provided shows that stakeholder engagement wasnt genuinely designed to solicit views from stakeholders. But, it was for finalization of output which involves engagement initiatives for business dominance ideology. This created the need of sustainability and accountability in businesses reports. In conclusion, the article effectively argues that to achieve significant improvement in business sustainability, dialogue mechanism tends to empower stakeholders. It also assists in social and environmental reporting which makes business holistic in regards to sustainable practice. Lastly, the authors perceive that there exist considerable research on the best sustainable approaches that could be adopted by a business. References Rinaldi, L., Unerman, J. and Tilt, C., 2014. The role of stakeholder engagement and dialogue within the sustainability accounting and reporting process.Sustainability accounting and accountability, pp.86-107. Archel, P., Husillos, J. and Spence, C., 2011. The institutionalisation of unaccountability: Loading the dice of Corporate Social Responsibility discourse.Accounting, Organizations and Society,36(6), pp.327-343.

Laura Melveys Male Gaze

The development of the film industry took an interesting turn after the 1950 especially regarding the development of the female character due to the changes in life style and the way women viewed themselves. The empowered feminine character started appearing in film noir, genre of crime thriller films heavily laden with seduction and erotic undertones (Muller 2006).Advertising We will write a custom essay sample on Laura Melvey’s Male Gaze specifically for you for only $16.05 $11/page Learn More She played an active role in both the development of the genre and the development of the storylines and the plot. As such many movies producers started focusing on the female character and developed her to fit as one of, if not the key character in film noir. Thus, femme fatale (the fatal woman) was born and would dominate films and stage plays for decades. Femme fatale has been an interesting study by film and literature critics who have come up with int eresting views regarding this phenomenal character. Doane (1991) in her criticism of this character explains that even though femme fatale is seen as a literary image in films, she is an important figure of the representation of truth. She is a symbol of the real woman and their place in the society, whose real self is revealed through the sexual image, which portrays the differences between men and women. Doane further explains that she is the â€Å"representation of the antithesis of the maternal† (1991 p 2). This means that she symbolizes a woman who cannot reproduce either biologically or socially. Film site (2011) adds that this character was a manipulative figure capable of making vulnerable male character compromise greats of odds. She was a vengeful and sadistic anti heroine whose life always ended up in tragedy. One of the greatest criticism of femme fatalism â€Å"Visual Pleasure and Narrative Cinema† by Mulvey Laura has come under intense criticism from the film critics and the author herself. Mulvey (1976) uses Freud’s psychoanalytical approach in describing the role of femme fatale charades in film noir. The society is such that it is structured in a patriarchal manner: the male is all powerful while the female is an image of male sexual fantasies. The fatal woman is thus an object that for both the satisfaction of the male character in he film as well as the male audience. The films â€Å"Out of the Past† and â€Å"Gilda† give the reader an opportunity to weight myulveys assumptions about femme fatale. Mulveys argument hold a lot of truth about the nature of the femme fatale and her roles in the development of the film industry, while the criticism by the author herself and other film critics has added useful insights into the subject. Slide share (2011) explains that Mulvey is the originator of the idea of the male gaze developed the idea of the male gaze in her work â€Å"Visual Pleasure and Narrative Cinema. † The concept of the male gaze explains the idea of gazing in three ways: the way men look at women, the way women see themselves and the way the women sees and relates to other women. This concept of the male gaze is feministic and borrows heavily from Freud’s psychoanalytical approach.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Sexual fulfillment and desire is the object of motivation and controls the images of the characters in a play to fulfill the desires of the male character. The female character only sees herself as a castrated woman (without a penis) and thus can only be useful in fulfilling a mans sexual desires. As such, she is the symbol of phallocentrism, powerless in a society that is overtly male dominated (Mulvey 1975). Such phallus nature portrays the woman as an object of domination and oppression not only by the male in the film and audience but also a repres entation of the powerless woman in a patriarchal society. She is aware of her lack of a penis and can only â€Å"exist in relation to her castration and cannot transcend it† (1975, 343). Thus, a woman cannot find real meaning other than in the enjoyment of the fact that she is castrated. However, Mulvey (1975) explains that it is within the paradox of the phallic nature that a woman finds her true meaning : the lack of penis is the cause of the phallus status while the desire to make the best out of the situation is what makes a woman derive meaning of life. Such phallocentrism is the signification of a woman’s suffering. The femme fatale in the film Gilda is not without suffering. When Gilda’s husband Mundson â€Å"dies† Johnny, her ex lover and protector, marries her not out of love but for his faith in Mundson. Johnny subjects Gilda to psychological as wells as physical suffering (Dirks 2011; Spiderbaby 2010). Gilda thus portrays the suffering that wom en have to go through in an overtly and an unapologetically patriarchal society. Such patriarchal tendencies fulfills the desires of the man at the expense of the woman are also exhibit in the film â€Å"Out of the Past.† Kathie is not a woman in freedom. She is constantly running away from her past (a man). In her earlier life she had shot and seriously injured Whit her lover and stole quite a hefty amount of money. Whit wants her back plus the money, a portrayal of how subordinated women are to men (Ebert 2010). Spiderbabay (2010) also explains that Kathie suffers betrayal from a man, her lover Jeff, when he leads her to the police so as to buy his freedom, as such using a woman to achieve his personal wishes to freedom. The biggest crime in the film is â€Å"not murder or stealing the money but betrayal† (Morris 2011) As Mulvey (1975) notes, the phallocentric approach (where women are aware of the weaknesses they are exposed to as a result of their penile deficiency ) only reduces the woman to an object of desire for men. The fatal woman in a film or stage play is thus propped in such a way that the male can have a proper gaze at her and fulfill his sexual desire. She is crafted in way that only portrays her sexual prowess and her power to seduce men, both the film characters and the audience.Advertising We will write a custom essay sample on Laura Melvey’s Male Gaze specifically for you for only $16.05 $11/page Learn More This desire is usually fulfilled by gazing at women characters. The male gaze is enhanced by several camera techniques, which focus on certain parts of the woman body. The focus is intended to drive the attention of the male towards that particular part of the body. Not any part of the female body is subject to focus. The camera only focuses on the various body part and behavioral traits that arouse and fulfill sexual desire in the male characters and the male audience. As such, the object ification of the woman is further achieved through compartmentalization of her body into sexual and non sexual parts (Barnes n.d.). Such trait is seen through the main character Gilda in the movie going by the same title. Gilda is a flirt who plays mid games with both the male characters and the male audience in an erotic and seductive way. The male gaze is directed at her provocative flirtation and seduction techniques. Gilda intentionally flirts with other men to make Johnny jealous (Dirks 2011). At one time in the film, Gilda does a striptease in on stage, in full view of the patrons at the club. This is a sexually provocative action that the cameras focus on to enhance the male gaze and fulfill the sexual desire of the male. Such acts have an effect both to the male audience as well as to the male characters in the film such as Johnny who in rage slaps Gilda for performing indecent acts in public. Later and out of the effect of that act Johnny confesses his love to Gilda (Spider baby 2010). Thus the two films have exemplifies Mulveys theory that a woman is an objects subject to a males gaze for his sexual fulfillment. In further defining the male gaze mulvey explains that the man is the one who bears the ‘look’ while the woman only bears the image. As such ‘the pleasure of looking is divided into two: the active male gaze, and the passive female gaze (1975, p. 346). The active male gaze is the dominant gaze while the female has to be figured and structured appropriately to enhance her to-be-looked-at-ness. To-be-looked-at-ness is a very strong visual sexual symbol and is displayed through a series of erotic acts such as striptease [as exemplified by Gilda (Spiderbaby 2010)]. This kind of erotism makes a woman an indispensable character and spectacle in film noir. As such, femme fatale becomes an alien intrusion into the plot and thus a deviation from the normal script and storyline. Morris (2011) explains that Kathie is part of the lethal triangle that also includes Jeff and her former lover Whit.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More The story line is initially focused on recovering Whit’s $ 40000 stolen by his ex lover Kathie. However, Whit hire Jeff, an ex sleuth and the two, jefff and Kathie, fall in love and start an affair. Kathie and her new lover have to live on the run, running away from Whit who still wants to recover his money. This love affair thus becomes a considerable deviation from the sleuth work that the film was initially built on. It this becomes a story of Whits fatal obsession with Kathie, which finally makes the film, looses the initial theme (Mills 2007). The film Gilda also exemplifies Mulveys assertion that femme fatales are an erotic diversion from the films main story line. The film has a Mafioso inclination and the main character Mundson, is the owner of a casino and has connection to the underground mafia world. Mudson introduces Gilda as his wife and because of his lack of trust for her, asks Johnny, her former romantic partner, the roles of keeping an eye on her. Thus is the beginning of a love triangle as Johnny and Gilda rekindle their romantic flame. This is the point that love, romance and seduction take over and the film looses connection with the mafia world. Even though Mundson fakes his death to dissociate himself with the mafia his faked death is literary more significant to the love triangle. Mulvey (1975) adds that such diversion by the femme fatale from the main course off the story line does not make her significantly important as a person, rather t is what she provokes in the male character and audience that matters (347). Therefore, it is the sexual objectification of the woman and the gratification of the male character and the male audience by gazing at the sex object signified in a woman on stage that matters. The fatal woman has no importance in herself either to the film or to the audience. It is what she represents that counts. The male character is not subject to sexual objectification and as such is the important figure that cont rols desires and erotic nature of the woman. The male characters in the film are able to identify with what the audience is feels about the and thus part of its search and realization of sexual fulfillment. As such the male ceases to be an object of sexual desire but the power that controls the desire. Femme fatales sexually explicit behavior is thus as a result of such power by the man to control the way she behaves. The audience thus sees this power to control sexual desire through the woman (Mulvey 1975). However, the film Gilda put this notion under the perils of validity test. Gilda the main character is a dangerous and seductive woman who performs seductive acts such as flirting with other men and strip teasing so as to make Johnny her secret lover jealous. This evokes a very strong sense of attraction in Johnny towards Gilda (Spiderbabay 2010). Therefore instead of Johnny controlling the sexual desired as Mulvey suggests, he becomes the victim of such desire in which its powe r lies with femme fatale, rather than him. Film noir focuses on sexualisation of the female character, the symbolization of femme fatale as the object of sexual fulfillment to the male character and audience, thus masculining the audience (Mulvey 1975). This means that the film is only useful to men and this article does not tale care of the spectator who has tendencies towards both male and female sexuality. However in â€Å"Afterthought to Visual Pleasure and Narrative Cinema† Mulvey (1983) argues that the original intention was to celebrate the masculine culture of the spectator but this kind of spectator includes both men and women. It is possible to have women who are not particularly keen on having a sexual identify on the screen. This change of stance in the masculinisation of the female character is as a result of the fact that things have moved on and the way a woman carries herself has drastically changed (Mulvey 1985). Skjerdal,(1997) agrees with this new line of t hought and further adds that the masculinisation of the audience and the objectification of the female character in film noir is leaves the woman without any identify as it only describes her in relations to a mans desire. This also means that the woman is just a â€Å"bearer of meaning but not its maker† (Despotopoulou, 2004). However, the film Gilda gives the viewer an opportunity to contend this view. Gilda the main character posses an overwhelming power of seduction over the male character in the film. So powerful is her power of seduction that she chooses and owns the men who seduces her. Thus Gilda is a woman â€Å"knows her power over men and that she is the real definition of intoxicating sassiness† (Stevens 2009). Such power over men thus proves that the fatal woman is not just an embodiment of the male’s sexual desire but has made deliberate effort to develop her sexual identity, a tool she uses to her own advantage. Thus this film put Mulvey’s idea of lack of identity of femme fatale at great peril. Laura Mulvey’s â€Å"Visual Pleasure and Narrative Cinema† offers some insight into the mysterious and almost mystical character of femme fatale. It supposes that this mysterious character is the creation of men for their own benefit. She is an object of sexual fulfillment. The male gazes at her and thus gains much sexual gratification. Such approach ha borrowed heavily from Sigmund Freud’s psychoanalytical approach. It denies the woman the power to make her own identity. A political tool portrays the manner in which the way the society is structured to be dominated by men. However it does not answer to all questions as it does not take care of the part of the audience that has homosexual orientation (Rucas 2003). The idea does not also address the place of the female character and audience who is not a forced object of sexual symbolism but who likes and enjoys to be looked at. As such, weaknesses are igno red and need attention. Reference List Barnes, E., n.d. Laura Mulvey’s male gaze: Looking at film through the eyes of a man [Online] Available at http://www.freewebs.com/elizabethbarnes/index.htm   Despotopoulou, A., 2004. Fanny’s gaze and the construction of feminine space in  mansfield park† Modern Language Review ed. 99: 569-583. Dirks, T., 2011. Gilda (1946) [Online] Available at. http://www.filmsite.org/gild.html Doane, M., 1991. Femmes fatales: feminism, film theory psychoanalysis. New York: Routledge Ebert, R., 2004. Out of the Past (1947) [Online] Available at http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040718/REVIEWS08/407180301/1023 Mills, M., 2007. Out of the past. Online] Available at http://www.moderntimes.com/past/. Morris, G., 2011. High Gallows – Jacques Tourneur’s Out of the Past. [Online] Available at http://www.brightlightsfilm.com/29/outofthepast.html Mulvey, L., 1985. Changes, Discourse. pp 11 – 30. Muller, E., 2006. Film Noir. Green Cine podcast. [Online] Available at http://www.greencine.com/static/primers/noir.jsp Mulvey, L., 1985. Afterthoughts on ‘Visual Pleasure and Narrative Cinema,’† Feminist Film Theory. Sue Thoruham (ed.), NY: New York University Press, pp.31-40 [Online] Available at http://www.scribd.com/doc/17220483/Afterthoughts-on- Visual-Pleasure-and-Narrative-Cinema Mulvey, L., 1975. Visual pleasure and narrative cinema. Durham and Kellner Media and cultural studies ed., Oxford: Blackwell Publishing Rucas, P., 2003. The male gaze, homosexualization, and James Bond Films [Online] Available at http://www.angelfire.com/film/articles/bond.htm. Skjerdal, T., 1997. Laura Mulvey against the grain: a critical assessment of the  psychoanalytic feminist approach to film. Centre for Cultural and Media Studies, University of Natal ed. [Online] Available at. http://www.oocities.org/capitolhill/2152/mulvey.htm Slide share, 2011. The male gaze Laura M ulvey – Presentation Transcript [Online] Available at http://www.slideshare.net/fleckneymike/the-male-gaze-laura-mulvey   Spiderbaby, L., 2010. Evil as admirable: the femme fatale in the eyes of the  contemporary female spectator. [Online] Available at   http://sbhonesty.blogspot.com/2010/11/evil-as-admirable-femme-fatale-in-eyes.html Stevens , S., 2009. Embrace your inner Goddess [Online] Available at http://goddesspower978.wordpress.com/tag/seductress/ This essay on Laura Melvey’s Male Gaze was written and submitted by user Annika Garcia to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.