Child Rearing in the Us and Colombia Essay

Early care-giving is a major factor for a child to feel secure to explore the world around them (Carbonell, Alzate, Bustamente & Quiceno , 2002). How different is this early care-giving between two cultures such as the United States and Colombia? This is a look at the differences and similiaries of raising girls, both born in 1988, in Colombia and the United States. Both girls were raised in nuclear families, with one older sibling, close enough in age to be a major part of each girl’s daily life. One was raised in Colombia, although she moved to the United States at the age of eleven, while the other was raised completely in the United States. Both parents of each girl were interviewed as well as the girl herself. The basic stepping stones, the times that parents love to videotape, the â€Å"baby’s first† moments all seem to happen relatively similarly in both girls. Self-reported by Paulina, was that she walked around the age of ten months. Similarly, Jane walked at the age of ten months. Both were somewhat delayed in speech, enough so to be taken to doctors. In each case, the parents were told that the child would speak if the family stopped following the non-verbal directions from the child. Paulina’s first words were â€Å"eso,† Spanish for â€Å"that,† and â€Å"Ma. † Jane’s first word was â€Å"Ah-yah† which was meant to be â€Å"Alex,† her brother’s name. Paulina stood alone at the age of eight months (personal communication with subject), as did Jane (personal communication with subject). Punishment is something all parents must figure out. Hispanics tend to mollify children and be more lenient (Figueroa-Moseley, Ramey, Keltner & Lanzi, 2006). Hispanic parents tend to try to calm their child rather than work towards developmental goals, which tend to be more valued in the United States. Neither girl was punished in the form of â€Å"grounding,† but both were warned with simple looks from their parents, such as glaring and both girls were yelled at as well. Corporal punishment was used for each girl as well. Paulina was â€Å"smacked,† and Jane was occasionally spanked. Jane would be sent to her room or made to sit in a chair as in a â€Å"Time Out,† however Paulina never experienced a â€Å"Time Out† and recollects that such a thing was not common in Colombia. Both girls were raised to speak their mind, and not wait to be spoken to, as long as what was said was respectful. Questions were welcomed by both families, but the girls were expected to know the time and place in which to ask questions. Each girl was also allowed to pick out her own clothes, which has been shown to be good for children, as children see it is important for them to make some of their own decisions, and identify with the choices (Ardila-Rey, Killen, 2001). Paulina’s mother tried to teach her what matched, but eventually gave up trying when it, although Colombian mothers tend to worry about the outward appearance of their children (Carbonell et al, 2002). When asked what Jane would choose to wear, Jane’s mother replied, â€Å"Anything that didn’t match,† although she, too, tried to teach her daughter matching. No major restrictions were set upon either girl, except to be respectful. Respect was emphasized in both situations. As respect was emphasized from child to adult, so was it shown from adult to child. Both children were kept informed of what was happening in the family. Children were expected to be a part of dinner conversation and were allowed to participate in the adults’ lives. Also, both children were given reasoning behind decisions and had things explained? â€Å"because I said so† was used only when the situation would be later explained, and the consequences of an action were described rather than a mere â€Å"don’t do it. † Chores were a part of each girl’s life as well. Both were expected to do what was asked of them to help around the house– dusting, vacuuming, clearing the table, etc. Jane was expected to help with dinner, which included getting food from the refrigerator, carrying things to the table, loading the dishwasher, setting the table, and occasionally stirring. Jane was given an allowance of approximately five dollars a week, but this was never in exchange for doing her chores. Paulina, too, was not paid for doing her chores. She states, â€Å"I was part of the family and therefore I was expected to work in the house without any sort of reward (personal communication, April 10, 2007). † Colombia tends to be a collective society that looks to the benefit of the group, rather than the individual (Pilgrim, Reuda-Riedle, 2002), which applies to this situation in that Paulina was expected to help keep the house in order, without ? payment’ because it was for the greater good of the family, being part of the group is an important aspects of a collective culture. Family relationships and interdependence? a common bond between family members, working together for the benefit of the family? tend to be much more emphasized in Hispanic cultures (Carbonell et al, 2002). A major part of any culture is food and dining, and children are a part of that. Children often lose some of their appetite between ages two and six, and because parents worry, bad food habits are put into place. Sugary foods are offered if a child finishes a meal, and many foods have vitamins and nutrients added. However iron, zinc, and calcium are seen to be deficient because juices and sodas are replacing milk, and cereals and processed foods replace fresh fruits and vegetables (Berger, 2006). It is also hard to maintain good eating habits during this age, because children often need meals to be â€Å"just right. † Children have very determined ideas for what should be eaten, how it should be eaten, and the entire situation surrounding the meal. Often times the food â€Å"required† is not healthy food, but rather sugary or similar to fast-food, like chicken nuggets or French fries. Paulina ate dinner together with her family every night, generally at eight o’clock, as is customary in Colombia. Her mother did most of the cooking, and after dinner, either her mom would not clean up, or her mother would, but with the help of her daughters, while her father did other household things. On weekends, most meals were eaten together. Breakfast was generally around ten o’clock in the morning and lunch was around three o’clock in the afternoon. Very few times, her father would cook, although he cooks more now that they live in the United States. Food was as healthy and fresh as possible. Snacks were fresh fruits, and there were never packaged foods in the house. Jane would eat dinner with her family as well, often around seven o’clock in the evening, when her father came home. She would eat breakfast and lunch with her brother until this was no longer possible because of school. Jane’s mother did most of the cooking, and the children were expected to help. Snacks were often dry cereal like Cheerios, apples, crackers, or cheese. Paulina started learning numbers and how to read and write at the age of four, when she went to preschool. The debate of how children should be taught to read can be broken into two sides; phonetics and whole language (Berger, 2006). Phonetics looks at each sound of each letter, while whole language, encouraged by Piaget, says that concentrating on the goal of fluency and communication is more important than individual words (Berger, 2006). Jane also attended a preschool at the age of four, but it was not as much structured, formal schooling. Both were taken to a part-day day-care or nursery school for the opportunity to socialize with other children. While at nursery school, Paulina was mostly made to play with toys. Jane attended a Co-op nursery school at a Unitarian Universalist church. In a Co-op nursery school parents take turns coming into the school to help supervise stations and participate in the nursery school experience. Stations were set up, such as a Reading Corner, Snacks, and a daily feature, such as tracing bodies on large sheets of paper or crafts. Co-op nursery schools are not typical in the United States, but Jane’s parents thought it was important to be involved with their children when possible and for their children to have the socialization experience. Both were read to everyday. Jane was read to a two to three times a day, for about fifteen minutes each time, but also had labels, signs, and anything printed read to her during everyday life. Jane was occasionally, but not often spoken to in â€Å"Baby Talk,† while Paulina was never spoken to in â€Å"Baby Talk,† as her parents thought speaking to her regularly would help her learn to understand. Both parents acknowledge that their children were not raised in a way that is typical to their individual cultures, and that is evident looking at the two girls in adolescence and early adulthood. Both girls realize that because their parents were stricter when they were young, that as the girls grew older; their parents didn’t need to be as strict. Each girl knew what was expected of her and was therefore given more freedom as she matured. Many times this appeared to friends as though the girl could do what she pleased, although this was not the case. The girls knew the limits of what they could do without being told. Both sets of parents relied more on their trust in their daughter than blatantly telling her what she could or could not do. Obviously, there are some differences and some similarities between raising children in Colombia versus the United States. Developmentally, the children seem to be similar, and most of the parenting is more alike than different. References Ardila-Rey, A. & Killen, M. (2001). Middle class Colombian children’s evaluations of personal, moral, and social-conventional interactions in the classroom. International Journal of Behavioral Development, 25 (3), 246-255 Berger, K. (2006). The Developing Person: Through Childhood and Adolescence (7th ed. ). New York: Worth Publishers. Figueroa, C. , Ramey, C. , Keltner, B. , & Lanzi, R. (2006). Variations in Latino Parenting Practices and Their Effects on Child Cognitive Developmental Outcomes. Hispanic Journal of Behavioral Sciences, 28, 102-114. Pilgram, C. & Rueda-Riedle, A. (2002). The importance of social context in cross-cultural comparisions: First graders in Colombia and the United States. The Journal of Genetic Psychology, 163 (3), 283- 296. Posada, G. , Jacobs, A. , Richmond, M. , Carbonell, O. , Alzate, G. , Bustamante, M. , & Quiceno, J. (2002). Maternal Caregiving and Infant Security in Two Cultures. Developmental Psychology, 38 (1), 67-78.

Film Journal Essay

1. How does Hitchcock introduce us to the two principle characters? Where do the scenes take place and how is the camera placed? In the case of Alicia Huberman (Ingrid Bergman), her father’s prison sentence leaves her skeptical of others, yet longing for a new companion in her life. She has a reliance on alcohol to wash her troubles away. R. Devlin’s (Cary Grant) a stranger from the party, a very mystery man. The Party takes place at Miami, FL. The camera pans right across Cary Grant’s back and comes to rest behind his right shoulder. The camera is placed behind and to the right of Cary Grant who is sitting and facing away from the camera. In the immediate foreground masking out a small portion of the bottom left corner of the frame is the silhouette of Cary Grant’s right shoulder and part of his head. This establishes that it is a tacitly objective shot from the point of view of Cary Grant. As we move to the right though the frame in the foreground Ingrid Bergman is sitting facing towards Cary Grant and the camera at eye level. It is a medium shot from her navel up and she sits nearly in the center of the frame in front of Cary Grant. Their relation relative to each other is conclusive of a possible a romance and long lasting connection. In the background dividing the frame in half behind Ingrid Bergman is a couple dancing. Finally, in the foreground on the right side of the frame sits a man who is profiled and masks out about a third of the bottom half of the frame. The significance of the guests framed is they act as a sort of mask leading our eyes to Ingrid Bergman’s glances and expressions toward Cary Grant in the foreground of the frame. , the shot establishes Cary Grant’s role as a man of mystery and foreshadows an element of romance between Ingrid Bergman and Cary Grant. 2. How does Hitchcock get us to identify with and care about the two lead actors Carey Grant and Ingrid Bergman? One scene that illustrates the tensions in Alicia and Devlin’s relationship is when Alicia enters Dr. Barbosa’s office to ask the investigators for advice on marrying Sebastian. When Alicia enters the room is a long take. As the men stand up to greet her, their shadows eclipse most of the frame except for Alicia’s face. Moreover, the men’s bodies are cut off by the edges of the frame as they accommodate Alicia, while she stays in the middle  of the frame in bright light. These three elements emphasize that Alicia is the center of attention. Hitchcock is glorifying Alicia for Devlin to tease him because he cannot discuss his feelings for her. Even though all of the other men surround her, when Alicia says the word, â€Å"marry,† there is a cut to a shot of Devlin still standing by the window. The low key lighting allows the venetian blinds to create streaks of light over Devlin’s body. In this situation, these lines represent the entrapment of his emotions. During the interaction, the shots on Alicia and Devlin become tighter because they are expecting each other to be conflicted with her marriage to Sebastian. Neither, however, will admit their concerns, and they are both surprised. At the end of the scene, the camera pans with Devlin as he exits, giving the effect that he walks a large distance in a short period of time and emphasizes his discomfort. The shot then lingers on Alicia’s expression of disappointment while keeping the door in the corner of the frame. In addition, When the men are alerted to Ms. Huberman’s arrival, there is a close-up of the back of Devlin’s shoulders and head. Cary Grant quickly shifts his weight back and forth which conveys the nervousness that Devlin is feeling because he loves Alicia. However, for the sake of the mission, he must admit it. He also begins to turn around, but has to collect himself once more before joining the conversation to defend Alicia. The ensuing exchange of banter further divides Devlin from the others as they are portrayed in a wide three-shot, versus the close-up on Devlin’s upper body. This framing choice makes it clear that the sides of this argument are three against one, and that Beardsley and Prescott have lost some trust in Devlin, because they can tell that Devlin has feelings for Alicia. 3. How would you describe the mood or tone of the film in visual terms? Alfred Hitchcock incorporates multiple instances of point of view editing and cross-cutting to explore man’s intimate feeling of helplessness. He accomplishes this task by creating tense situations in which the viewer is more informed than the characters. However, the viewer’s omniscient range of narration is stifled by several occurrences of perceptual subjectivity, creating a momentary feeling of helplessness within the viewer. The first takes place after Alicia (Ingrid Bergman) has consumed a large amount of alcohol and has decided to drive a car with Devlin (Cary Grant).  At first, the camera is stationary and the car is seen rapidly approaching and swerving from a distance. The next shot is from the hood of the car and has both Alicia and Devlin within the frame. It is clear that Alicia is not fit to drive, but the stationary camera does not evoke an immediate response of fear. Hitchcock understands that the scene could be more terrifying and has Alicia bluntly ask Devlin if he is â€Å"scared†. Furthermore, Hitchcock is having Alicia ask the viewer if he is scared and follows up the direct line with a point of view shot from Alicia. It is only during this shot from the view of a drunken driver, along with masking the camera with uncontrolled hair that the viewer feels truly out of control and terrified. Although this shot seems like it doesn’t significantly contribute to the plot of the film, it is the first time that the viewer if allowed to peer through the eyes of a main character and demonstrates Hitchcock’s understanding of perceptual subjectivity. Hitchcock also adds suspense to the film by using cross-cutting to leave the viewer eagerly helpless within the limitations of time. The major scene that uses cross-cutting to compress time and space is during the large party that Sebastian hosts at his house. Before Devlin and Alicia break into the wine cellar, a sense of urgency is immediately generated as Alicia explains to Devlin that they must complete their task before Sebastian’s server has to replenish the wine supply. This line of dialogue creates pressure and sets up the opportunity to use crosscutting to indicate urgency. Hitchcock uses cross-cutting, or â€Å"alternate shots of two or more lines of action occurring in different places simultaneously’’ between Devlin and Alicia’s pursuit and the dwindling wine supply in order to make the viewer constantly aware of the overall situation. This is significant because only the viewer is allowed to see how much time Devlin and Alicia have before they get caught. By alternating between these two shots, Hitchcock also minimalizes the space between the two events. The viewer assumes that once the wine is gone, then Devlin and Alicia will be caught. The viewer is not show the space between the wine cellar and the table upstairs, but rather the immediate surroundings of the separate characters. Hitchcock uses this technique to directly infuse suspense into the viewer’s perception of a situation. 4. Describe a few of the most visually stunning shots? Hitchcock also uses point of view editing to define the relationships between characters. In the scene when Alicia wakes up after the midnight drive, there is a series of oblique shots of Devlin walking into the room. It is clear that this is the perceptual subjectivity of Alicia because one of the shots rotates to mimic her rotation in the bed. Oblique shots are typically used to show mental instability, which in this case, is caused by Alicia’s alcohol consumption. In these shots, Devlin is seen standing over the camera, which shows that he is protecting Alicia. Even though the two had met the previous night, this gesture allows Alicia to trust Devlin, and their relationship intensifies. Another stunning shot scene is when Sebastian searches his wine cellar. Since he was engaging in illicit activity, Sebastian could not trust Devlin after he sees Devlin kissing Alicia. He is suspicious that Devlin had stolen the key to steal a wine bottle. Though the cellar appears to be untouched, Sebastian is compelled to look back once more. A cut to a high angle shot of liquid in the sink is enough evidence to tell Sebastian that a bottle had been broken. For Sebastian, this shot reveals that Devlin is an American agent, and that Alicia is involved in his plot. At this moment, Sebastian learns that he cannot trust his wife, or Devlin. The hostility comes to a climax during the last scene when Devlin removes Alicia from Sebastian’s custody. Sebastian’s objection to this is enough let his associates know that he has jeopardized their cover. Alicia is poisoned is another example of perceptual subjectivity. She does not realize that Sebastian discovered her true loyalties, so she does not anticipate that Sebastian would harm her. After drinking the coffee, there are quick zooms on Alex Sebastian and Madame Sebastian (Leopoldine Konstantin). These show Alicia’s realization of their intentions and that they can no longer be trusted. In addition, there are several shots when the frame gets warped and the other actors become silhouettes. These images are accompanied by a chaotic score, which has an equally nauseating effect on the viewer as it does for Alicia. These point of view shots are the culmination of Alicia and Sebastian’s betrayal of one another which are very  interesting. 5. What are some of the things about the film that impressed you the most? In this move, each of the main character has difficulty in finding mutual trust with one another. Since each character has their own motive, they are only willing to open themselves up enough to achieve their goals. None of them admit to their true feelings until Devlin rescues Alicia, which finally implies that their trust and love are reciprocated. The range of narration, which is mostly omniscient, helps bring out the progression of each character. Alfred Hitchcock really did a good job uses mise en scene to convey the level of trust in each character’s relationships.

How to Meet People in College Without Being Creepy

How to Meet People in College Without Being Creepy Right, so this article is going to teach you how to mix and mingle with the best of’em without coming across like a creep. Below you’ll find 7 chunks of information that will put things in perspective and give you an edge. Dive in and take notes if you have to because these are some serious social gems! 1. Let Go Next time you’re at some sort of function, let go of any social anxiety/insecurity. Simply decide not to care what other people may or may not be thinking about you. Be like a child in that respect. This doesn’t mean you don’t care what you look like and how you act, it just means you won’t waste time around others being overly analytical or introspective. You know what, we all find that really attractive. You’ll naturally meet a fair amount of people. They’ll come up to you and want to know more about you because at the end of the day they’ll hope you rub some of that nonchalant attitude off on them. 2. Think Inbound For the next ten mornings, before you head out ask yourself this question and then be perfectly honest: â€Å"What can I do to make myself more meet-able?† And no, it doesn’t have much to do with looking perfect. I mean, why do you typically approach people, ask them their name and want to get to know them? If absolutely no one ever approaches you, ask yourself why. Typically it all comes down to your attitude. Part of being attractive, or compelling to others is not being Depressed Dennis or Negative Nancy. Be happy and wear a smile on your face! 3. Be Where the People Are Silly It’s hard to meet people when you spend 80% of your time alone in your room, and the other 20% either eating somewhere or in class. Furthermore, if this is your lifestyle you’re bound to have some â€Å"issues† with meeting people in person. Social awkwardness. Life isn’t a video game. If literally all of your friends only know you through the virtual realm†¦dude you need to get out more. Parties and sports games aren’t the only options in town. Check around, in most colleges on an average weekday TONS of stuff is going down. Get in on some of it. Get out and about! 4. Upon First Meeting Basic people skills are actually super easy. When you first meet someone new face to face, there’s two things you can do and they work literally every single time: practice being a good listener and be genuinely interested in the other person. Skadoosh! Don’t be scared. Don’t be intimidated. Don’t be unnatural. Ask them about the weather, classes, something relevant and then listen. Be interested in them and keep it upbeat. Make first meetings with you refreshing and interesting. And remember, there’s always people watching. We all want to talk to the person that makes people smile and laugh in a classy, not cheesy immature way†¦ 5. Take Leadership Roles Leaders aren’t born okay, they’re slowly crafted. You just got to do it. Success breeds success. If you stumble at first, so what? Whenever a potential leadership role comes up, whether it be in interpersonal relationships or the classroom, give it a go! Leaders meet a ton of people, much more so than followers and it’s not creepy. All you have to do is volunteer and then go with it. Sure, the first couple times it will be intimidating but then you’ll adapt. Now remember, being a leader means leading. It means making a choice when no one else will. Fortune favors the bold! 6. Eat Right Exercise Regularly It’s less about being pretty or sexy (although those don’t necessarily hurt your chances of meeting people) and more about being healthy. If you get ripped or shredded, great! Then it’s all a matter of how you wear it. When you eat right you ensure that your body and central nervous system are working properly. Or at least as well as can be expected. What, you don’t think eating junk food all day is influencing you psychologically? Exercise also helps us stay balanced. And, exercise is a great way to meet people. Joggers. Sports players. Cyclists. Gym rats. The list goes on and on. 7. Approaching that Certain Someone When you’ve got a target you want to meet, don’t be immature! Just walk right the hell up to them and introduce yourself. The longer you take and think about it the creepier you could come across when you finally work up the nerve. Never forget that 80% of human communication is unspoken. The sooner the better, believe me. Now it’s your turn to spit some knowledge. How do you typically end up meeting people in college without any creepy vibes going on?

A ROSE FOR EMILY Essays - Fiction, A Rose For Emily, Free Essays

A ROSE FOR EMILY Essays - Fiction, A Rose For Emily, Free Essays A ROSE FOR EMILY A Rose for Emily takes place after the Civil War and into the 1900?s in the town of Jefferson, Mississippi?a town very similar to the one in which William Faulkner spent most of his life. It is a story of the conflict between the old and the new South, the past and the present?with Emily and the things around her steadfastly representing the dying old traditions and the present expressed mostly through the words of the narrator but also through Homer Barron and the new board of aldermen. The issue of racism also runs throughout the story. In part I, Faulkner refers to Emily as a "fallen monument", a monument to the southern gentility that existed before the Civil War. Her house is described as having once been white?the color of youth, innocence and purity, and also of the white society?but decayed now and smelling of dust and disuse. It stands between the cotton wagons (the past) and the gasoline pumps (the present)an "eyesore among eyesores". Emily comes from an upper class family and grew up privileged and protected by her father. An agreement between her father and Colonel Sartoris?a character we assume was a veteran of the Civil War and who also represented the old South with his edict that no Negro woman should appear on the streets without an apronexempted her from paying taxes. The authorities decide to pay Emily a visit to try to collect the taxes due the town. When we are introduced to Emily, she is described as being in black?the color of death?and her eyes are lifeless?"two small pieces! of coal". The description of Emily is not unlike that of her house, and I thought of a corpse when reading that "she looked bloated, like a body long submerged in motionless water, and of that pallid hue."the dying old traditions. The tarnished gold head on her black cane is the one reminder of her affluent, upper class position of years ago. And the invisible watch hanging from her neck but hidden under her belt is symbolic of her living in the pasttime at a standstill in the Grierson house. When asked if she got the tax notice from the sheriff, Emily claims she has no taxes to pay and refers them to Colonel Sartoris who has been dead for ten yearsanother indication of Emily?s living in the past. Referring to the sheriff, she says, "Perhaps he considers himself the sheriff?I have no taxes in Jefferson." This implies that Emily still considers herself superior to the rest of the town. Emily has difficulty accepting the death of her father, and she hangs onto him and the past for three days after he dies until she finally allows the body to be taken away for burial. Her father had overprotected her throughout her life, chasing suitors away because they weren?t good enough for her. And when her sweetheart deserts her, she becomes a virtual recluse. The "only sign of life" is the young Negro servant who gardens and cooks for her. In fact, it is apparent that Emily would have died years earlier if he had not taken care of her. To me, Faulkner is suggesting that the South will die, or certainly not progress, unless its culture changes and it accepts the Negro as a vital part of society. I wonder if the smell of Homer?s rotting corpse represents racial prejudice: the 80 year old mayor refuses to directly confront Emily about the odor?just as he would not deal with the immorality of racial repressionand after several complaints, four aldermen take it up! on themselves to do something about it. Three of them are "graybeards" representing the old South; one of them is a "younger man, a member of the rising generation". I think the three older men helped to find the source of the stench, but they didn?t really do anything to stop it?I believe it is the young alderman who spreads the lime in a "sowing motion" in an effort to get rid of the smell?the lime perhaps representing tolerance. After her father dies, Emily disappears within the house for some time; but when a construction company comes into Jefferson to pave the

Antonys Rhetorical Superiority Analysis Essay

Using Logos, Antony’s logical argument that Caesar was not ambitious made the mob begin to doubt their current suppositions that Caesar deserved death for his ambition. With the emotive appeals of Pathos, Antony used a wide variety of props, rhetorical tricks and cleverly worded lies to incense the mob against the conspirators whom had killed the apparently unambitious Caesar. Most importantly, however, Antony’s greatest ability was the way that he presented himself almost simultaneously as both a common man and the mighty noble that he was, using Ethos to its utmost effect and connecting to the mob in ways that Brutus and even Cassius could not. When Antony insisted that Brutus tell him why they had killed Caesar, his motive was not to see if their cause was justified or not. Antony’s real aims were to decipher their logical argument behind killing Caesar, in order to understand how to combat it in his upcoming monologue. He then paid close attention during Brutus’ speech, to reaffirm his knowledge of how to refute the shallow logic that Brutus unknowingly used. From these two sources, Antony was able to construct a counter-argument that was both precise and effective. Brutus had claimed, speaking for all the conspirators, that they had killed Caesar for his ambition that threatened to enslave all of Rome, leading to destitution and sadness for all. Antony knew the way to respond, however, in his â€Å"Friends, Romans, Countrymen†¦Ã¢â‚¬  speech. He stated his refrain early on: â€Å"[Caesar] was my friend, faithful and just to me; but Brutus says he was ambitious, and Brutus is an honorable man† (III. ii. 86). He would then proceed by providing factual evidence that Caesar was in fact not ambitious, and then return to his theme by stating that in spite of all the proof to the contrary, Brutus still accused Caesar. Using parallelism, and continuing to juxtapose the incontrovertibility of Caesar’s innocence to Brutus’ drastic and unnecessary actions, Antony was able to defeat the arguments of the conspirators. Despite this, Brutus had used other reasons why they had killed Caesar in his speech, which Antony did not address within his own. Wherein lies one of his greatest victories: the ability to recognize the essential, underlying argument that was the lifeline of all other logic that the conspirators used, that Caesar’s death was warranted by his ambition. Antony reasoned that if he could disprove just this one point, all the other points that the conspirators had made would be immediately invalidated, granting him a complete victory. The mob’s sudden loss of confidence in the conspirators and Caesar’s guilt would leave the crowd with a void of trust, unsure why â€Å"honorable† Brutus, Cassius, and the others would kill Caesar, if not for his ambition. Antony, anticipating this void, planned to fill it with anger and rage against his enemies, by harnessing the subtle and powerful art of Pathos. The turbulent and powerful qualities of emotion have the capacity to control its host entirely. To translate the anger he was creating from the crowd into action, Antony needed to stoke it much as one does a fire. Many times, Antony played with the emotions of the crowd, and he began by reinforcing his victory of logic. He states in his first speech, â€Å"You did all love [Caesar] once, not without cause; what cause withholds you then to mourn for him? † (III. ii. 103) Since he had already convinced his audience of Caesar’s innocence, he then makes them feel ashamed for having ever doubting the man’s obvious virtue and benevolence. He also used this rhetorical device when he subsequently states, â€Å"O judgment, thou art fled to brutish beasts, and men have lost their reason! (III. ii. 105) Through subtly lamenting that the crowd was acting without judgment, its members became earnest to rectify their mistake in listening to the conspirators. Antony knew that the crowd felt this way, and suggested to them a solution: â€Å"O masters! If I were disposed to stir your hearts and minds to mutiny and rage, I should do Brutus wrong and Cassius wrong†¦ I rather choose to wrong the dead, to wrong myself and you† (III. ii. 122). This quotation reveals another concept that Antony places upon the Romans: the concept of two distinct sides. He places himself, the crowd, and the dead Caesar upon one side, and the conspirators upon the other. The crowd then realized that the conspirators, through killing Caesar, had wronged every single one of them. Having the mob come to accept Caesar as on their side might have proven difficult for Antony, but he was able to use exceptional props to accentuate his points. His strongest prop was the body of Caesar himself, which resembled much more a â€Å"carcass fit for hounds† than a â€Å"dish fit for the gods† as Brutus, hoping for the opposite, had said earlier. Antony placed his mentor’s body in plain view of the crowd, in the humble pose that death imposes. He then describes the man in startlingly personal and human terms, bringing the crowd closer to Caesar. He tells them, â€Å"For when the noble Caesar saw [Brutus] stab, ingratitude, more strong than traitors’ arms, quite vanquished him. Then burst his mighty heart†¦Ã¢â‚¬  (III. ii. 185) Possibly the most brilliant of Antony’s portrayals, he described Caesar not as a mighty ruler, but a kind and honest man. Antony brought the moment of the assassination to the Romans, and illustrated for them how it was not the daggers that killed Caesar but the extraordinary pain of seeing his best friend among his killers. He showed them how the great Caesar took their vicious thrusts with the grace and dignity of a hero, and not with regal contempt of a dictator. The crowd could now feel what the great Caesar felt, and welcomed him as one of them as a result. Antony then revealed his final prop: the very â€Å"will† of Caesar. At the end of all his speeches, when the populace is at the point of revolt, he reads, â€Å"Here is the will, and under Caesar’s seal. To every Roman citizen he gives, to every several man, seventy-five drachmas† (III. ii. 241). Despite the fact that the will was only a figment of Antony’s boundless imagination, he did not need it to be real in order to cause the mob to riot. When the crowd beheld that the conspirators had killed a man who was their great and just leader, who cared for them all enough to give them each a large sum of money upon his death, their emotions and anger exploded into the desperate and near unstoppable desire to act. Antony knew he had succeeded with making the crowd emotional enough to kill the conspirators, as he says with a grim satisfaction, â€Å"Now let it work: Mischief, thou art afoot, take thou what course thou wilt† (III. ii. 262). This undisputed mastery of the Pathos rhetorical technique that Antony wielded gave him the advantages he needed to quickly and efficiently accomplish his ends. The right hand man of Julius Caesar had another gift as well, one that enabled him to even dare to say most of the things he did to the crowd. The gift was a deep understanding of not just what to convey to an audience, but how to convey it: Ethos. From the very first sentence he spoke to the crowd, he had already received their rapt attention and their unconditional trust. He said, simply and honestly and without condescension, â€Å"Friends, Romans, Countrymen, lend me your ears†¦Ã¢â‚¬  (III. ii. 74) In only seven-words, Antony’s genius for communication can be easily viewed. He began by placing himself and the crowd within three groups that they all belonged to, creating a sense of unity among the gathered Romans. In addition, Antony respectfully requests permission for those assembled to listen to what he had to say, making the crowd truly feel that Antony was a common Roman like them. However, Antony is able to maintain, through both how he identifies himself and the way he speaks, to command respect like a noble or emperor would. This balance that Antony strikes between modesty and arrogance allows him to speak with authority, and not appear to be giving orders even as he does so. A clear demonstration of that ability is when Antony tells the mob, â€Å"I come not, friends, to steal away your hearts; I am no orator, as Brutus is; but (as you know me all) a plain blunt man that love my friend†¦Ã¢â‚¬  (III. ii. 218) Incredibly, Antony is able to mask his immense eloquence behind some of that very eloquence, casting himself and his tremendous words as the honest and simple words of a man whom loves his friend. Through this same passage, Antony distances himself from Brutus, whom he alleges as a practiced orator and politician trying to trick the people. The crowd, when then comparing Brutus to Antony, can connect to and hence trust the word of Antony far more, allowing him to widen the range of things he could say. Employing all of these tactics and many more, Mark Antony confirms how effective the correct usage of Ethos is as a tool of manipulation. It is unequivocal that the character in William Shakespeare’s The Tragedy of Julius Caesar whom commanded the most extensive arsenal of manipulative weaponry, and used it to its fullest potential, was Mark Antony. With the Rhetorical Triangle of Aristotle as an evaluator, it is clear that Antony’s communicative methods blend together a seamless mix of logical, emotive, and ethical strategies. In only a few minutes, he turned the entire population of Rome against men whom had formerly had their unmitigated support. His efforts and success led to one of the most significant events in Western Civilization’s history, the collapse of the Roman Republic and the creation of the monstrous Roman Empire. Antony, in almost five minutes of incomparable excellence, accomplished all of this. His manipulative skills included the ability to, as Caesar put it, â€Å"†¦[look] quite through the deeds of men† (I. ii. 203). Ironically, virtually the only mistake that Antony made was how he trivialized his own success as fate, remarking to Octavian’s servant, â€Å"Fortune is merry, and in this mood will give us anything† (III. ii. 267). His modesty was most likely false: even fortune could not have done what he was able to.

Language and Literacy in Children Assignment Example | Topics and Well Written Essays - 3000 words

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Open Topic Research Paper Example | Topics and Well Written Essays - 1000 words

Open Topic - Research Paper Example Do the benefits of transporting hazardous material by rail outweigh the costs and damage on the environment? The following study into quantitative and ecological risk analysis of the transportation of hazardous chemicals by train across the United States. The study employs findings and conclusions made by former literature conducted over the effects of transporting hazardous material by rail and the environment. The study also analyses geographic data surrounding rail systems in the United States involved with transporting hazardous contents. Ecological features of these surroundings build towards probabilistic approximations of exposure to various spill cases the history of America’s rail system. This risk analysis integrated approximated cleanup expenses that accrued, effect of dispute on the distribution of soil, underground water, the contributions of yearly traffic, the rates of accidents, and deployed safety measures. A number of factors influence the risk and scale of the criticality of the consequence of spilling hazardous material on the environment during transportation by rail. First, the difference in safety performance of the standard tank cabin layouts is a significant risk factor (Anand et al., 2006). The higher the difference in cabin miles among various hazardous materials, and the difference in yearly accident-induced spill rate. Second, in approximating the effect expenses, hazardous substances that dissolve less in water incur more soil and groundwater cleanup expenses due to longer remediation periods (Xie et al., 2012). Third, in approximating the evacuation expenses, hazardous material moved along routes with more populations incur more evacuation expenses. Lastly, scheduled delay expenses may range from 3 to 8% of the entire effects costs in contrast to from 76 to 88% of cleaning up hazardous substances spilled into the soil and groundwater (Spraggins, 2011). The