What is the difference between 'old' and 'new' social movements Essay

What is the difference between 'old' and 'new' social movements illustrate your answer with reference to specific movements - Essay Example Social movements are created through a course of action, starting with disorder or campaigns as a response to a social problem, then organization of involved parties. People mobilize, leadership develops, duties are assigned, the public is notified, and guidelines or strategies begin to form, resulting finally in the establishment of the movement (Polletta & Jasper, 2001, 283). The course of action is not easy and there could be a decline phase in the group when it either disintegrates or is restored in a changed form. Social movements could be either reactive, involving opposition to change, or enthusiastic, with an aim for social change (Rootes, 1990, 10). Proactive social movements that aspire to reform a particular feature of human conduct, like the Women’s Christian Temperance Movement, are transformative (Polletta & Jasper, 2001, 283); those aspiring for an absolute transformation of individual conduct, like religious fundamentalist groups, are liberating (p. 283). The emphasis of the other two kinds is societal transformation: movements with goals of altering a particular feature of society, as represented by labor groups, are alterative, and organizations trying to transform the whole social order are revolutionary (Rootes, 1990, 12). The objective of this essay is to discuss the distinctions between ‘old’ and ‘new’ social movements. Theorists of new social movement observe a greatly reformed social structure behind these new social movements, diversely referred to as ‘postindustrial’, ‘network’, or ‘information society (Pichardo, 1997, 411). In the theory of Melucci (1994, 105), ‘modernization’ has obliged that individuals be able to process or understand the informational or network components on which present-day societies rely on, but heightened individualism has been escorted by great demands toward standardized conformity. On the other hand, the theory of

Everything You Know About Branding Is Wrong By David Galullo Essay

Everything You Know About Branding Is Wrong By David Galullo - Essay Example Gallulo, (2013) stated that if any marketer of major corporations is asked, most of them would agree to the statement that â€Å"Branding Is Everything.† Gallulo, (2013) stated that despite of having known the importance of branding as everything, people still misunderstand, misinterpret and use the word branding in a vague meaning. Even though branding is an integral source of success for the organizations, yet the approach towards branding is incorrectly utilized. Historically, branding of businesses used to be done through silos. This means that the business used to hire an advertising agency to carry out its marketing activities whereas another firm is appointed for developing the official website of the company. Above all, that appointed organization is contracted to complete the overall design of the organizational environment. This scheme of branding is resulted in relatively weaker branding outcomes such that the brand actually failed in creating its own brand personal ity and the organization could not achieve its desired goals through branding in various different fragments. Ultimately, the brand could not connect the customers and employees to the organization. In new era, branding is something more than what it is perceived by companies. It means that businesses do not merely offer their products or yell at their potential customers just to come and shop their products. Nowadays, businesses attract their customers by reflecting them the intended personality of the organization and for this purpose; they create the perception of the business in the minds of customers. The employees of such businesses do not work for such organizations only for getting salaries nor the customers of such companies not just buy the products only because of being indiscriminate customers. Rather, these stakeholders consider themselves as a part of that organization in way that they believe this organization provides them a sense of identity. Gallulo, (2013) states that nowadays, brand is not an advertisement, a logo, or a poster displayed in corporate office. Brand has become the gut feeling and intelligent companies know the potency of a rightly built brand. This occurs when all the components are integrated via designs-from virtual platforms such as websites to tangible platforms such as office buildings- in general, it starts from the basic realization of the significance of the company. Whether it is designing the website, headquarter of the company, field office, or new brand strategy, it all starts from two basic questions: what is your identity? And: what is your importance? These questions apparently seem easy, but when it comes to companies, they are most difficult questions to answer. That is why majority of the companies do not bother and therefore, fail in their efforts of developing brand. Gallulo, (2013) retorts that it is integral to find answers for these two questions and to build connection with a holistic and integrated app roach. This will ultimately create a more meaningful and stronger brand. Gallulo, (2013) took the example of football program of University of Oregon. The team plays football in a relatively small town and does not have tradition and history of Texas or Alabama. The team was considered as mediocre until the mid of 1990s. Yet, Oregon has developed a distinguished brand that cuts through chaos and turns heads around. From advertising to uniforms, Oregon has encompassed branding as an integral way of thinking. The ‘why’ of Oregon is change and it has embedded change into everything. It is attracting the best staffs as well as the attention of people. Gallulo, (2013) inferred that people do not watch because team is good, team is good merely because people watch them. Gallulo, (2013)

Robert Mapplethorpe Photography Analysis

Robert Mapplethorpe Photography Analysis Mapplethorpe: Art or Pornography? art: the expression of creative skill through a visual medium such as painting or sculpture. pornography: printed or visual material intended to stimulate sexual excitement. (1) The question of art versus pornography is one that has long dogged the visual Arts of all mediums. Nudes on stage, actors fornicating on screen, and artists painting, drawing, sculpting, or photographing naked subjects or explicit acts, have all been scrutinised, discussed and argued over. Some have even been taken to court. Some depictions of naked forms do not even cause a stir. Nobody protests against the Romantic images of naked men or of the paintings and sculptures by Pre-Raphaelite artists of nude mythological beings. What is it then that determines whether something is classified as art or pornography? I would postulate that it is not quite as simple as categorising a piece as one or the other, and I will discuss this during the course of this essay. We must at this point turn to the Oxford English Dictionary’s definition of pornography and the key word â€Å"intended†. The deciding factor appears to lie in the intention of the artist; if he or she intends to â€Å"stimulate sexual excitement† the result will be pornographic. Mapplethorpe has admitted that his pieces are homages to desire, and that he himself was sexually stimulated whilst photographing his male nude subjects. It would be unfair to say however, that his photographs are not expressive of â€Å"creative skill†. His images, which I will examine in greater detail later in the essay, are formally beautiful and skillfully posed and shot. Can a piece of work be both art and pornography? Mapplethorpe himself insists that he makes pornography that is art (2). If an artist’s technique is masterful, why should the fact that the piece is sexually stimulating to others prevent it from being classed as art? Why can’t a piece of art hav e multiple functions? Some view Mapplethorpe’s photography purely as pornography, believing it impossible to classify photographs of naked men and women as art. When Mapplethorpe’s retrospective exposition The Perfect Moment exhibited at the Institute of Contemporary Art, Republican Sen. Jesse Helms was the most forceful objector. So outraged was the Senator that he would carry around photographs from the exhibition to illustrate his point to journalists. One photograph he would often present was â€Å"Rosie†, showing a young girl of two or three pictured with her crotch exposed, which he argued constituted child pornography. Others have agreed with Helms. In 1996 the image was removed from a London exhibition on the grounds that it might attract paedophiles. As many others have argued however, this view casts both Rosie and Mapplethorpe in an unfair light. As with many of his other photographs of naked individuals, what is most striking about â€Å"Rosie† is the humanity and i nnocence of this little girl; it is what is revealed about the figure that is most interesting. Nakedness is represented in the Bible as the state of innocence to which we must all return if we are to know God. In Genesis it is only when Adam and Eve fall from innocence and know evil that they realise they are naked. Saying 37 in the Gospel of Thomas alludes to the innocence of naked children: His disciples say to him: On what day wilt thou appear to us, and what day shall we see thee? Jesus says: When you strip yourselves without being ashamed, when you take off your clothes and lay them at your feet like little children and trample on them! Then [you will become] children of Him who is living, and you will have no more fear. (3) â€Å"Rosie† is only seen in a sexual context by those with the predisposition to see it in that way, whether they be paedophiles or hard-line moralists (4). Rosie herself, aged 23 at the time of the London exhibition, protested that the photograph was beautiful and innocent and not at all indecent (5). She had even hung a copy on the wall of the restaurant she managed. Mapplethorpe’s most explicit photographs are seen as obscene by many who are not moralists or particularly religious. His X Portfolio contains graphic pictures of homosexual sexual acts and bondage, such as ‘Helmut and Brooks’, which depicts one man’s arm inserted up to the elbow in another man’s anus. ‘Man in Polyester Suit’, another of the photographs often produced by Helms to show journalists, depicts a black man’s semi-erect penis protruding from his flies. It is an odd image, the picture having been cut from just above the man’s knees to his chest, directing the gaze to the penis. Is this pornography? Against the cheap suit, Celant asserts, the penis becomes an object of beauty, like an emergent flower, beginning to bloom with desire. It is erotic, certainly, but is it obscene? Many certainly view ‘Helmut and Brooks’ as obscene and, accordingly, not art. In 1987 Dennis Barry, Director of the Cincinnati Museum of Art, was put on trial for exhibiting The Perfect Moment. In court his Defense asserted that the aesthetics of Mapplethorpe’s work made his photographs art and not obscenity. In Janet Kardon’s essay, written as a guide and an introduction to the exhibition, form is emphasised as the focus rather than the content or context. Even when faced with explaining the photographs depicting homoerotic sexual acts Kardon extols the virtues of Mapplethorpe’s camera technique, almost ignoring the sexual content altogether: There is a drama in each photograph; edges are used as the perimeters of a proscenium,  with subjects strategically sited within those boundaries and caught at a moment of  absolute stasis. Most sitters are portrayed frontally, aligned with the camera lens, in  direct eye contact with the photographer and, in turn, the viewer. Nudes generally  assume classical poses†¦ although his models often are depicted in uncommon sexual  acts, the inhabitants of the photographs assume gestures governed by geometry, and they  are shown against minimal backgrounds (6) Returning to ‘Man in a Polyester Suit’, Kardon refers to the image as â€Å"outrageous† but only because the shot has been set up to appear as a clothes advertisement, making the juxtaposition of the penis â€Å"unsettling† (7). As Kidd writes, it is interesting that Kardon uses the term â€Å"outrageous† rather than ‘obscene’, and that it is not the act of photographing a penis that is â€Å"outrageous† but the actual penis itself, being rather large (8). The reason for this being, Kidd continues, that the term ‘obscenity’, has sociological and legal implications. In terms of the sociological implications, the obscene is a subversion of what is sacred, and is also separate from daily life – it is perceived as taboo, especially by religious organisations. Its legal implications are what led Dennis Barry to victory in his court case. Congress defines the ‘obscene’ as: 1. the average person, applying contemporary community standards, would find that such project, production, workshop, or program, when taken as a whole, appeals to the prurient interest; 2. such project, production, workshop, or program, depicts or describes sexual conduct in a patently offensive way; and 3. such project, production, workshop, or program, when taken as a whole, lacks serious literary, artistic, political, or scientific value. (9) The defense successfully argued that Mapplethorpe’s work had artistic value – it is formally beautiful and striking, and the composition is masterful. His photographs could certainly be argued to fall under the first two definitions but all three definitions must fit for something to be considered ‘obscene’, therefore legally Mapplethorpe’s photographs could not be labeled as such. Flageolle extolled the â€Å"exquisite tonal qualities of the platinum print and controlled studio lighting† of Mapplethorpe’s photography, which can be observed in both his ‘hard-core’ and less explicit work (10). Photographs such as ‘Ken and Robert’ and ‘Ken and Tyler’, where Mapplethorpe juxtapositions black and white models, are made even more striking by using black and white film and posing the subjects in a rigid, symmetrical stance. All of Mapplethorpe’s photography is extremely precise, which actually adds to the eroticism of the images. In pornography models tend to assume very overt poses, leaning into the camera and pushing their assets towards the lens, and by extension towards the viewers. Much of Mapplethorpe’s work however, is more restrained in that regard. Subjects may perform explicit sexual acts, urinating in other man’s mouth for example, but it often seems to be personal, intimate. In â₠¬ËœJim and Tom, Sausalito’ the two men are almost unaware of the camera, a feeling heightened by the placement of them in the shadows. Mapplethorpe’s figures can sometimes feel almost cold, and distant, looking past the camera at something we cannot see. However, as Samaras has contended, pieces of art cannot merely be considered for their formal qualities, as that â€Å"relegates art primarily to the role of timeless visual entertainment not historicised cultural elucidation† (11). Mapplethorpe’s photographs showed the public another world. The homosexual and SM communities were brought to the attention of thousands of people. Mapplethorpe wanted to capture new images. His intentions were not to shock; â€Å"I don’t like that particular word ‘shocking’. I’m looking for things I’ve never seen before† (12), he told ARTnews in 1988. In photographing those â€Å"things† he also showed a multitude of people things they had never seen before. â€Å"The point of making art is to educate people† Mapplethorpe once asserted (13). He wanted to force the public into awareness of gay issues. If Mapplethorpe’s primary intention is not to sexually stimulate viewers of his work, does that mean it cannot be pornography? Yet Mapplethorpe certainly wanted to capture the latent sexuality of every living thing in his photography. Even flowers become objects of desire and sexuality. His photographs of flowers are almost more erotic than his nudes. There is a raw sexuality in the way in which he photographs them; the calla lilly’s stamen takes on a phallic shape, the stems of two poppies writhe around each other. Unlike much of his other work, he often uses colour film to photograph his flowers, capturing their vibrant colours, bursting with sexuality. Mapplethorpe sees no need to photograph his flowers any differently than his nudes; â€Å"My approach to photographing a flower is not much different than photographing a cock. Basically it’s the same thing† (14). His black and white photographs of single, naked black men seem to be more a study of the perfect form than pornography. The visually striking image of ‘Thomas’ recalls ‘Vitruvian Man’, Da Vinci’s mathematically and architecturally calculated drawing of the perfect human physique. With his arms stretched out to the perimeters of the circular barrier he stands in, his muscles rippling, skin gleaming, Thomas presents a striking and beautiful image of man. An untitled photograph taken in 1981 shows, apart from his penis, the rippling quadriceps of an extremely fit man. It is his gleaming thighs, reflecting the light and producing shadows, which draw one’s attention in this photograph, rather than the penis, which is shrouded in darkness. Mapplethorpe’s earlier work juxtaposed pornographic acts and images with classic poses and studio lighting, resulting in the disruption of both the pornographic and the classical and creating an uneasy mix. His later photographs of beautiful, gleaming male bodies are almost totally preoccupied with aesthetic beauty, with Mapplethorpe controlling the rigid poses. There is certainly a pornographic dimension to Mapplethorpe’s work but it is not traditional pornography. In many of the photographs, the subjects’ faces cannot be seen. Penises hang alone, boobs are held almost begrudgingly, the subjects uninterested. Nor does the pornographic define Mapplethorpe’s work. It is also a study of aesthetic beauty, educational, and a presentation of exquisite formal technique. Mapplethorpe’s work could be described as pornographic art; a combination of explicit sexuality and a formal exquisiteness. Endnotes 1 Soanes, Catherine, ed. Oxford Compact English Dictionary. 2nd ed. Oxford University Press.  2000. 2 Cited in Levinson, Deborah A. ‘Robert Mapplethorpe’s Extraordinary Vision: A review of The   Perfect Moment’. Aug 6 1989. www.tech.mit.edu 3 Cited on www.gospelthomas.com 4 Tozer, John. ‘In the Eye of the Beholder’. Variant, issue 6. www.variant.org.uk 5 Cited in Gerry, Lyn. ‘Cut! At the Edinburgh Festival’. 1997. www.ainfos.ca 6 Kardon, J, Mapplethorpe, R. The Perfect Moment. Philadelphia Institute of Contemporary Art.  1988. ps. 9-10 7 Kardon, J, Mapplethorpe, R. The Perfect Moment. Philadelphia Institute of Contemporary Art.  1988. p. 11 8 Kidd, Dustin. ‘Mapplethorpe and the New Obscenity’. Afterimage. March-April 2003. 9 Public Law 101-151, November 5, 1990. Reprinted in Richard Bolton, ed., Culture Wars:   Documents from the Recent Controversies in the Arts. New York: New Press. 1992. p. 286. 10 Flageolle, Andree. ‘Mapplethorpe and Baudelaire’. History of Photography. Winter 1995. 11 Samaras, Connie. ‘Feminism, Photography, Censorship, and Sexually Transgressive Imagery:  The Work of Robert Mapplethorpe, Joel-Peter Witkin, Jacqueline Livingston, Sally Mann, and  Catherine Opie’. New York Law School Review. Vol. XXXVIII Nos 1-4. 1993. 12 Cited on www.mapplethorpe.org/biography 13 Cited by McDonald, Robert on www.queerculturalcentre.org 14 Cited by Celant, Germano. ‘Robert Mapplethorpe: Man in a Polyester Suit’ ArtForum.  September 1993. Bibliography Bolton, Richard, ed. Culture Wars: Documents from the Recent Controversies in the Arts. New  York: New Press. 1992. Kardon, J, Mapplethorpe, R. The Perfect Moment. Philadelphia Institute of Contemporary Art.  1988. Soanes, Catherine, ed. Oxford Compact English Dictionary. 2nd ed. Oxford University Press.  2000. Afterimage. March-April 2003 ArtForum. September 1993. History of Photography. Winter 1995. New York Law School Review. Vol. XXXVIII Nos 1-4. 1993 www.ainfos.ca www.gospelthomas.com www.mapplethorpe.org/biography www.queerculturalcentre.org www.tech.mit.edu www.variant.org.uk FREE Pocket Business English, ACT NOW!

Bored - Father :: essays research papers fc

There is a phrase that people here time and time again, but don’t truly understand the meaning of it until the phrase can be applied to their own lives. â€Å"You don’t realize what you have until it’s gone.† Atwood’s poem is a direct reflection of this quote. Her poem â€Å"Bored† talks about how she hated the repetitiveness of her daily events with her father. But it was only until he had passed on was it that she truly did realize how much she missed those daily events. Sometimes people don’t understand how important others mean to them until it is too late. I found the poem â€Å"Bored† to be very well written and very touching. Atwood did a good job of describing how easy it is to overlook some of the better things in life. This poem revolved around repetition. And it was the repetition that makes the reader aware of the love that Margaret has for her father. Her poem starts with â€Å"All those times I was bored out of my mind. Holding the log while he sawed it. Holding the string while he measured, boards, distances between things, or pounded stakes into the ground for rows and rows of lettuces and beets, which I then (bored) weeded†(588). Atwood is obviously conveying to the reader that the time she spent with her father wasn’t what she considered of much importance and actually disliked it. This is because she only saw it as work and as a constant hardship of recurrence on herself. She never comprehended that these days with her father were the better days of her life, and she only wishes she could have them ba ck. â€Å"Why do I remember it as sunnier all the time then, although it more often rained, and more birdsong†(589)? Another aspect that can be derived from this poem is Atwood’s father’s obvious intentions to give her an awareness of the many adversities life can obtain. He has made sure she leads a life that doesn’t result from a spoiled childhood. He made her attentive of a hard days work, which is probably one of the best things a father can teach his child. It is absolutely essential that parents in general teach their children the many hardships life may behold. This gives the child a better direction in means of future obligations. Atwood describes her father’s ambition to show her some of the finer things in life and the beauty of nature and nature’s way of life.

New York: now and then, and the future

New York has the charm to draw the people’s interest from all over the world. New York has been the gateway of immigration in America for centuries has remained the city of dreams for the immigrants; it would not be wrong to call it the. City of American dream. It is the third most populated nation in the US with multicultural population of Italian, Irish, African American, Germany, Hispanic, Asian origin. Living in the city is captivating, because it offers variety of jobs in various areas with higher income and better living conditions. As the city’s population soared up in 20th century, the city witnessed the City subway opening in 1904 and arrival of the skyscrapers, such as Empire State Building, in 1920’s. During the Jazz age (between World War I and Great Depression) immigrant families moved outside Manhattan, raising the population of Brooklyn, which made Brooklyn more populous than Manhattan. During the WW1 and WWII the growths of women workers increased in garment factories triggering the foundation of International Ladies' Garment Workers' Union. In 1927, Tin Pan Alley opened the first modern musical (Jerome Kern's Show Boat) in Broadway. One of the most important events in New York history is the Stock Market Crash, that devastated stock market in America in 1929 leading to Great Depression in 1930’s. However, more the finance and business, New York is famous for it politics and politicians. For over eighty years, New York’s politic has been played by the democratic political machine, called Tammany Hal that collapsed after the Republican reformer Fiorello LaGuardia elected mayor in 1934. The city has great monuments and parks and the master builder has been Robert Moses, who constructed bridges, parks and parkways in the 20th century. Later in mid-20th century, New York became a hub for high-tech companies and becoming the headquarter GE, IBM, Eastman Kodak, and Xerox like companies. In     the last quarter of 20th century, the New York population growth has dropped to only 2% (1965 to 1997), from 32% in 1940 to 1965. This drop is caused by the dis-organized city development.   New York is one of the most expensive cities in the world. It has also been associated protectionism and corruption. Another issue is the failure of public welfare as few cheaper rentals are avalible along with affordable quality schools, colleges and public hospitals. Due to lack of the government efforts to cater to these problems, the crime rate is also growing which makes living some where unsafe. It was the tragedy of 9-11 that changed the city in many aspects. The terrorism act had cost not only thousands of lives, but also huge grief in the hearts of its citizens. After 9/11 the government has tightened up the immigration regulations, however the tragedy has brought suspicions in a multicultural city that always welcome outsiders. Even thought the city at present is working on massive developmental projects, there are poor areas in city which has to be revamped. In order to succeed the city government needs to maintain New York international image by working on more horizontal development rather than vertical development. Such plan will need to reconstruct the older city laying the advanced infrastructure for the poor segment at well. Even though there is no perfect city in the world; New York is still one of the best cities to live in. Reference: Lange, Alexandra , Building the (New) New York. Retrieved May 15, 2007, Web site: http://nymag.com/realestate/features/2016/17143/ Malve Von Hassell , (1996). Homesteading in New York City, 1978-1993. Bergin ; Garvey. Jameson W. Doig, (2000). Empire on the Hudson: Entrepreneurial Vision and Political Power at the Port of New York Authority . Columbia University Press.

Why Men Are from Mars and Women Are from Venus.

Why men are from Mars and women are from Venus. Are there any differences on how women and men talk? This is a question many people ponder on everyday. It is easy to assume that because English belongs to the person who uses it, men and women would likely to talk the same way but that may not be the case. Linguistics experts had proven that shown that men and women communicate in different ways. Speech style, word use, and body language are apparent between men and women. Women focus more on making connections, while men generally focus on public contexts where informative and persuasive talk is highly valued and appreciated.In the essay â€Å"I'll Explain it to you: Lecturing and Listening† by Deborah Tannen, she believes that even though men and women speak the same lingua franca, but their affirmation of support, conversational patterns and body language are very different. In the earlier years of development, Tannen observes that girls use speech to find confirmation and e stablish intimacy, whereas boys use speech to assert their independence and attain social status (283-5). In a study by psychologist H. M. Leet-Pellegrini who set to find out how men and women communicate with each other and who is more dominant in a conversation. Tannen 284). When women are listening, they will show support by saying things like â€Å"Yeah† and â€Å"That’s right†, even though they are more knowledgeable than the men on that particular topic (Tannen 283). However, this may not be the case for men. Tannen states that when it is the other way around, men tend to say something like â€Å"So you’re the expert. † (283). It showed that when women has superior amount of knowledge than the men, â€Å"It will sparked resentment, not respect†, and because of that â€Å"Women are inclined to play down their expertise rather than display it. † (Tannen 283).Women are scared to express their opinion because of what other people wi ll think of them. Tannen feels that men are always trying to grab the leadership role by interrupting, hogging conversations and offering practical information, â€Å"My experience is that if I mention the kind of work I do to women, they usually ask me about it. While men have the tendency of explaining and giving me a lecture on language. † (282-3). In this situation, women find themselves bored and constantly nodding unwillingly as they have been cast as the listener as men lecture them and finds themselves in an asymmetrical conversation (Tannen 288-9).Despite the asymmetrical conversation, in the article Party Line by Rachael Rafelman, she states that women want to be heard. She states that, â€Å"Listening is a part of girl talk since it is at the very center of reciprocal communication. Woman requires it of each other† (Rafelman 320). When a woman talks she gets personal and involved in the conversation, men do not (Rafelman 317). Men love to talk about business and sports so women find the company of men kind of boring (Rafelman 317). It is why some women may find themselves nodding unwilling throughout the conversation.Women on the other hand find comfort in offering and receiving comfort and avoiding confrontation. There's certainly some truth to this. We can see this everywhere. Which men haven’t had heard his wife or female collogue say to him, â€Å"These shoes are killing me? † When he replies, â€Å"Get some new ones then,† or â€Å"Why are you even wearing them,† she is offended and upset. What he should have said was, â€Å"Oh I know exactly how you feel. Mine are killing me too. † Thus, according to Deborah Tannen’s article, considering these facts, no wonder many women grumble about their partners not listening to them (289).They argument that they made, that the men are not listening to them, is actually because they are not getting the response that they wanted to hear (Tannen 289). W omen focus more on making connections; talk and conversation is essential to this process. Women share secrets, relating experiences, revealing problems and discussing options with their close friends. Men generally take another approach; their groups tend to be larger, focusing on activities rather than conversation. Even though men rather focus on activities rather than conversations, it does not mean that men talk less than women.In Janet Holmes’s essay â€Å"Women Talk Too Much,† Janet Holmes claims that even though many people believe that women talk more than men do, men talks just as much, if not even more, especially when talking enhances their status, power or dominant. Even when they hold influential positions, women sometimes find it hard to contribute as much as men to a discussion. † (300). Women are scared to express their opinion because of what other people will think of them and they know that when a woman is superior knowledge, it will sparked r esentment, not respect, as stated in Tannen’s article â€Å"I'll Explain it to you: Lecturing and Listening† (283).Aries found out that found that women who did a lot of talking in a group began to feel uncomfortable; they backed off and frequently drew out quieter members of the group (Tannen 291). It is proven that men talk more than women in public, formal context because they perceive that by participating in the conversation it enhances their status and power. I couldn't agree with this more because I think that men are always trying to impress somebody and therefore men always want center stage to prove that (Tannen 286).Thus, men generally focus on public contexts where informative and persuasive talk is highly valued and appreciated. In spite of the differences between men and women that Tannen has shown, in the essay â€Å"Sex Differences† by Ronald Macaulay argues that there is no such thing and beyond any other semantic topic, there have been countles s absurdity about sex differences. Macaulay states, â€Å"Such stereotypes are often reinforced by works of fiction† (309). Tannen disagrees to this. There are differences on how men and women communicate.Tannen said that, â€Å"Men’s style is more literally focused on the message level of the talk, while women’s is focused on the relationship or metamessage level (289). For women, she wants the listener to engage, give feedback and be interested in showing attentiveness while men wants the listener to be quietly enrapt on what he is saying. An interesting fact that I found out in Tannen’s article, which I agree, is the way the men and women sit. They say that men are all spread out with their legs wide open, while women gathered themselves in (Tannen 285). This could not be truer.When I was in the lecturer hall, I just look around in my class and I see all of the guys all spread out and all the girls are like all curled up. Researches have found out tha t speakers using open-bodied position are more likely to persuade their audience (Tannen 285). In a nutshell we can conclude that men impose and lecture their side of the story when speaking while women on the other hand have a more open exchange of ideas. Besides that, men do not show any body signals indicating that they are listening but women on the other hand give signs that show their affirmation or support.Lastly, men generally dominate the conversation most of the time while women just listen passively. Work Cited Page. Tannen, Deborah. â€Å"I’ll Explain It To You : Lecturing and Listening†. Exploring Language, 11/e. Ed. Gary Goshgarian. New York : Longman, 2005. 281-293. Print. Holmes, Janet. â€Å"Woman Talks Too Much†. Exploring Language, 11/e. Ed. Gary Goshgarian. New York : Longman, 2005. 299-305. Print. Rafelman, Rachel. â€Å"The Party Line†. Exploring Language, 11/e. Ed. Gary Goshgarian. New York : Longman, 2005. 316-321. Print.

First 15 minutes of Gladiator Essay Example

First 15 minutes of Gladiator Essay Example First 15 minutes of Gladiator Paper First 15 minutes of Gladiator Paper Themes The theme of the movie is introduced right from the beginning when the universal studio logo appears. It is turned into a sepia colour with the music very sad, to separate this movie from any comedy, horror and etc movie. Within the text at the beginning of the movie we as the audience understand that this is a historical movie based on true facts due to the fact that it says true facts about the Roman Empire in the 181AD. The music plays a big role in explaining to us the theme; it is a very sad music, showing sorrow within the film, this gives an idea of a tragic movie to the audience. : Language The language is expressed in English in both text and in oral in the first fifteen minutes of the movie. At the beginning the title is shown in large old Roman fonts followed by texts explaining the current situation on the roman empire (this is also in Roman font but much smaller) in 181AD to put the audience in the right state of mind on what the movie is going to be about and the genre of the movie. Within the text it explains many different aspects of the Roman Empire, mainly superiority a of the Romans but yet on the other hand it says a quarter of the worlds population lived and died under the roman rule therefore this brings the thought of death and cruelty to the audience. At the end of the text the audience is aware that something is going to happen to the Roman Empire because it mentions at the end that the Empire was at its rise. Then at the beginning of the first scene there is only one word which is written in text which is Germania to let the audience know where this scene is situated, on the other hand they could have just wrote Germany whereas Germania is a very roman word therefore it adds to the roman feeling and taste in the movie. Music The music is created by Hans Zimmer, it is very downhearted and melancholy all throughout the movie, it has a touch of Arabic tune in it, to add to the sad tune. It is more like dream music with winds at the background, but on the other hand for the war we have the very martial trumpet and drum song showing strength and power in the army. In this scene the music is a reflection o0n the actions in the movie, for example at the beginning the strings only start to play when the name gladiator appears, and another example is that the trumpets and rums get lauder as the camera goes further away from the scene. Target Audience This scene is based on a fighting scene but on the other hand it ahs an emotional touch to it through the music, therefore boys like wars and girls like emotional movies. On the other hand we have strong men fighting which is also in the interest of girls but we have to keep in mind that the language and the scene used is very much complex for a person under the age of 11/12 because not enough background information is there in the childs brain about the Roman Empire. So we get to the point that this movie is set for everybody above the age of about 13/14, it is an interest of everyone, and on the other hand tragic movies are in the interest of everyone as well specially for the old, due to the fact that many famous play writers such as Shakespeare wrote tragic plays. Camera The camera plays a very important role, because it is the eyes of the audience, in has many close ups and long shots in this scene. At the beginning it makes the audiences concentrate on maximums hand which the director wants to show to the audience that the person with that hand is devoted to his family but the fact that the camera is having a close up on the wedding ring, the camera also shows a wide view of the war which the director here wants to show the audience how organized and strong the Romans were, therefore the camera is probably paling one of the biggest roles in the movie due to the fact that the camera is the audiences eyes. Character The main character used in this story is shown in the first scene as a strong and loved general. And yet the audience know that this man is A GENERAL WHO BECOMES A SLAVE, THE SLAVE WHO BECOMES A GLADIATOR, THE GLADIATOR WHO DEFIED AN EMPIRE because it has been told before the movie starts. Therefore we know that this movie is a stereotype character movie because one mans takes revenge and suffers and struggles a lot in the movie, but yet he becomes a very strong influence in the Roman Empire. The characters are shown very distinctively, for example a bad character such as Comadus is shown pale with evil face, Marcus Aeurileus is shown as an old wise man with white beard. Sound Effect In this scene most things are shown in sound effects, such as the sound of the children playing, to show his devotion to the family, the sound of hissing of the winds hitting our ears showing the coldness and winter, the sound of the horses and the catapults being bulled gives the audience the feeling of an ancient war. Symbolism In this movie symbols were very much involved. Symbols such as robins to show winter, bad people wear black dirty and good people wear bright and clean , a ring is shown to show devotion to family, flowers are always shown to show emotions, in the wars the catapults were shown to show the technology of the roman empire and Comadus is shown with a baby face which symbolizes a child, not an emperor. Many different symbols have been used in this movie to give hints or ideas to the audience on what happens in the movie or what is happening in the movie.