Monday, May 25, 2020

The Problem Of Youth Homelessness - 2124 Words

Throughout the United States, there is a large group of individuals that go unnoticed. Hidden in right plain sight, but are overlooked. They can be our friends, family, classmates, or the person standing right next you to at this moment. There are young individuals who are facing the tremendous challenge of being homeless. They are overlooked by many in society. However, there have been countless individuals, groups, and organizations dedicated to ending youth homelessness. Though, they are confronted with challenges due to the lack of interest. The lack of interest found within society can contribute to barriers to ending youth homelessness. What is Youth Homelessness? Youth homelessness can be define as young individuals, ranging from age 12 to around 25, who are without any support from their families, and are either living on the streets or at a shelter. There are often â€Å"referred to as â€Å"unaccompanied† youth.† (National Coalition for Homelessness (NCH), 2007). Unaccompanied youths can be categorized as runaway-homeless youths, throwaways, and independent youths. Runaway- homeless youths are youths that leave home without any parental permission. Youths that leave their homes because parents encourage them to leave are categorized as throwaways. The final classified as independent youths who leave home because of family conflicts or other issues. (Aratani, 2009). Since many youths go unnoticed by society, statistics collected on the number of homeless youths areShow MoreRelatedThe Problem Of Youth Homelessness2123 Words   |  9 Pagesdedicated to ending youth homelessness. However, they are confronted with challenges due to the lack of interest. The lack of interest found within society can contribute to barriers to ending youth homelessness. What is Youth Homelessness? Youth homelessness can be define as young individuals, ranging from age 12 to around 25, who are without any support from their families, and are either living on the streets or at a shelter. There are often â€Å"referred to as â€Å"unaccompanied† youth.† (National CoalitionRead MoreThe Problem Of Homelessness Among Youth898 Words   |  4 Pages There are several reasons youth may become homeless and why it’s increasing in numbers. According to the National Coalition for the Homeless â€Å"Homelessness among youth fall into three inter-related categories: family problems, economic problems, and residential instability† (Homeless). All families have problems, but not to the extent of family problems that causes a child to choose homelessness. The National Coalition for the Homeless also say, â€Å"Many homeless youth leave home after years of physicalRead MoreHomeless Today : Young Adults, Adolescents And Their Families1531 Words   |  7 Pagesyears the amount of homeless individuals has continuously decreased throughout the country. Homelessness in America is a serious problem, especially with higher rates in unemployment happening. Americans are unable to support themselves and with lack of family support, resources and abilities this is leading to homelessness. â€Å"On a single night in January 2013, 61 0,042 people were experiencing homelessness† (Endhomelessness.org, 2014), which has decreased significantly since 2005 in which the numberRead MoreSocial Problem Homelessness1065 Words   |  5 PagesApplication Social Problem Research: Homelessness Homelessness is becoming a major social issue in the United States, with many poor families and young people ending up in the street because of several reasons. This condition is leaving many people helpless in the streets and the number keep on rising on a daily basis. Cities like Detroit and New York are among the most populous with poor families and homeless people, making it important for government and other social agencies to find urgent solutionRead MoreHomelessness In Canada Essay1202 Words   |  5 Pageswhat homelessness means, it is someone who is not able to live in a stable residence because of financial or psychological problems, so they are forced to live on the streets or put themselves on the streets, because they feel it would be a better fit. Homelessness in Canada is a very large and concerning issue because of the growing population. We need to ask our selves what causes homelessness, why are so many youth involved with homelessness and what can we change so that the homelessness problemRead MoreEssay On Homeless Programs838 Words   |  4 Pagesthese programs and projects have played a role in reducing homelessness, it does not mean these programs make a significant difference. There is a dilemma about funding for housing projects. There is no doubt that housing projects cannot maintain their operation without sufficient funding. However, increased funding for homeless programs can slightly reduce homelessness. In â€Å"Does Increased Funding for Homeless Programs Reduce Chronic Homelessness?†, Shawn Moulton estimates a â€Å"fixed-effects model† to examinesRead MoreThe Effects of Homelessness on the Overall Self-Esteem of Homeless Youth1476 Words   |  6 PagesHomelessness is often characterized as adults living on the streets taking shelter beneath the interwoven overpasses of the city or stan ding alongside busy intersections begging for money. Yet, children, those under 18 years of age, are generally not associated with the homeless status as they are invisible, not seen by the general public with their homeless counterparts taking up residence in make-shift housing. Nonetheless, there is a large percent of youth who meet the guidelines for being deemedRead MoreIs Homelessness The United States?1384 Words   |  6 Pagesmeant by homelessness in the United States? Homelessness is something that can be temporary or chronic. It is when an individual or family does not have and cannot afford a suitable place to live long term. Things like staying in a shelter, one room facilities (motel) or staying with a family member or friend does not mean you are not homeless. If you cannot afford suitable long term accommodations yourself, then you are considered homeless. When you are referring to youth homelessness they areRead MoreSocial Research On Ethical And Political Context1556 Words   |  7 Pagesneeds assessment of the current Barwon South West Region’s Youth Homelessness Services, with the aim of locating and bridging gaps that are presently in the services system, by collecting and analysing information such as assessment data, client interviews and so forth (Depoy Gilson, 2003, p75). This proposal will ascertain whether the Youth services in the Barwon South West region is fully addressing the barriers facing homelessness, exploring whether early intervention initiated outreach programsRead MoreThe Effect of Homelessness on the Youth of America1086 Words   |  5 Pages There are millions of homeless youth in America. On any given night, you can find these children ducking into abandoned buildings, crammed up against alley dumpsters, curled inside the big yellow slide of a local playground. I imagine they are thankful for sleep, wary of a new day, but thankful nonetheless. Homelessness at such a young age if left alone, leads to increased rates of conflict. The more homeless youths now, the more our country as a whole will have to deal with divorce, mental illness

Friday, May 15, 2020

Fast Food Nation - 1032 Words

Fast Food Nation by Eric Schlosser Tutorial: â€Å"What’s in the meat† – Meat and potatoes Overview: A look into how the meat is prepared. What is in the meat that we don’t know about but still consume. How consumers love it because it’s cheap, quick and easy. Processing of meat, errors associated with the process of beef and chicken. Image Analysis: An effective image employs specific techniques to relay its purpose. This image of 6 year old Alex Donley uses the following techniques to influence the reader or viewers perception of the chapter. Framing, layout, colour, symbols and focus are all crucial aspects of the image. The image is a mid shot of the child’s face, resembling an individual school photo. His expression is relaxed,†¦show more content†¦More than two thirds of those hamburgers were bought at fast food restaurants. And children between the ages of seven and thirteen ate more hamburgers than anyone else.† p.198. A bug that kills children †¢ E. Coli is both a necessary bacteria in the human digestive tract and a very harmful toxin †¢ The effects of the E. coli toxin are can be mild diahorrea, abdominal cramps, vomiting and low grade fever. †¢ E. coli bacteria affects children and the elderly along with people with weak immune systems. †¢ â€Å"I would have done anything to save my son’s life, I would have run in front of a bus to save Alex.† p. 200. All we care to pay †¢ Because fast food is so cheap and accessible, the risks associated with it’s consumption are far from our minds because of the minimal cost. †¢ â€Å"The use of chemicals such as borax and glycerine to disguise the smell of spoiled beef...† p. 204. A matter of will †¢ The only way this issue can be resolved is if the fast food companies are willing to take the initiative to minimise the spread of disease. †¢ Every...manager attend a food safety course, that every refrigerated delivery truck have a record keeping thermometer mounted inside it...† p. 208. A lack of recall †¢ By the time food is recalled, it is too late as most of it has already been consumed and the recalls are voluntary. †¢ â€Å"the company made no effort to warn the public or to recall the frozen patties...† Our friend the atom †¢ The sub chapterShow MoreRelatedFast Food Nation1487 Words   |  6 PagesThe Changing of the Food Industry â€Å"In many respects, the fast food industry embodies the best and worst of American capitalism at the start of the twenty-first century – its constant stream of new products and innovations, its widening gulf between gulf between rich and poor† (Schlosser 6). In 2001 Eric Schlosser published â€Å"Fast Food Nation.† Eric Schlosser’s early 21st century muckraking text, â€Å"Fast Food Nation,† attempts to shed light on the consequences of the fast food industry on AmericanRead MoreFast Food Nation1271 Words   |  6 PagesIntro  to  Political  Science 5/12/2013 Fast  Food  Nation The  investigative  journalist,  Eric  Schlosser,  has  written  a  book  to  illuminate  an  epidemic  that started  in  America  and  is  now  becoming  one  of  the  world’s  largest  problems.  In  Fast  Food  Nation, Schlosser  frames  today’s  Fast  Food  giants  in  history,American  entrepreneurialism,  and  over consumption  in  respect  to  consumer  and  employee  wellbeing.  The  power  of  all  modern  Fast  Food giants  combined  have  eclipsed  the  power  of  any  one  government.  Marketing  has  become  a  keyRead MoreFast Food Nation1133 Words   |  5 PagesFast Food Nation Fast Food Nation, by Eric Schlosser, is a stark and unrelenting look into the fast food industry that has ingrained itself in not only American culture, but in culture around the world. There is almost no place on earth that the golden arches has not entered. Aside from Antarctica, there is a McDonalds on every continent, and the number of countries that have fast food restaurants is growing on a daily basis. Schlosser describes in detail what happens behind the scenes, beforeRead MoreFast Food Nation2536 Words   |  11 PagesDialectical Journal – Fast Food Nation 1. â€Å"Hundreds of millions of people buy fast food every day without giving it much thought, unaware of the subtle and not so subtle ramifications of their purchases. They rarely consider where this food came from, how it was made, what it is doing to the community around them. They just grab their tray off the counter, find a table, take a seat, unwrap the paper, and dig in† (Schlosser 10). In this passage from the introduction, Eric Schlosser directly statesRead MoreFast Food Nation Examines The History Of The Fast Food1847 Words   |  8 PagesFast Food Nation examines the history of the fast food industry as the world began to consume the idea of quick and easy cuisine. This piece of investigative journalism really gives it s readers a look at the fast food industry and its development over time. This book is divided into two sections. The first section delves into the beginnings of the industry and how it developed into the large corporational business it is today. Th e second section examines the business behind the scenes. The bookRead MoreExamples Of Rhetorics In Fast Food Nation1038 Words   |  5 Pagesvery effective or ineffective at persuading an audience. This is seen in Eric Schlosser’s book Fast Food Nation in which he uses the three rhetoric tenets to better assure his claim of fast food but also use the rhetoric tenets ineffectively in an argument. By using these rhetorical ideas, his writing is very persuasive at points but also left unsuccessful at other times. The use of ethos in Fast Food Nation is seen many times to help Schlosser appeal as credible and trustworthy while ensuring thatRead MoreFast Food Nation: The Inconvenient Truth of Fast Food Essay572 Words   |  3 Pages ‘Fast Food Nation’ by Eric Schlosser traces the history of fast food industry from old hot dog stands to the billion dollar franchise companies established as America spread its influence of quick, easy and greasy cuisine around the globe. It is a brilliant piece of investigative journalism that looks deep into the industries that have profited from the American agriculture business, while engaging in labor practices that are often shameful. In Fast Food Nation, Schlosser goes beyond the factsRead MoreEric Schlossers Fast Food Nation And The Jungle1698 Words   |  7 PagesFast food restaurants exude bright colors, distribute meals with toys, and create a sense of happiness, but what truly goes on behind the scenes of this magical industry? In Eric Schlosser’s Fast Food Nation and Upton Sinclair’s The Jungle, the authors use similar rhetorical strategies to reveal the motives and unconventional practices of the food industry. Schlosser conveys his purpose through the utilization of pathos, ethos, anecdotes and imagery as compared to Sinclair who uses historical referencesRead MoreFast Food Nation Essay804 Words   |  4 Pagesstudy called â€Å"Fast Food Nation 2008. The panel consisted of 1,000 respondents of ages 16-65 who provided their inputs with an online survey which was conducted between March 13 through 2008. Which was based on results on fast food restaurants like McDonald’s, Burger King , and Wendy’s are gaining popularity even through the economic hardship and recession. Marketing strategy has become more of influence on kids and young American’s. As population grows and the demand increases of fast food restaurantsRead MoreFast Food Nation By Eric Schlosser1678 Words   |  7 Pagesâ€Å"Congress should ban advertising that preys upon children, it should stop subsidizing dead-end jobs, it should pass tougher food safety laws, it should protect American workers from serious harm, it should fight against dangerous concentrations of economic power (Schlosser). People must wonder how is it that a fast food company has so much customers. Advertising is the answer. The power advertisers have to be able to influence so many people s decisions and affect people’s lives especially the lives

Wednesday, May 6, 2020

The Importance Of Becoming Born Again, The Power Of...

In my previous blog post I have spoken about the importance of becoming born again, the power of the Holy Spirit and spiritual consciousness. Now, this leads me to my next topic, a close and continuous relationship with God (2 Peter 3:18). Having a close and intimate relationship with God allow us to become aware of how greatly we are in need of Him. This topic will be broken down into five parts; Confession, Voice of God, Power of Prayer, and the Church of God, Obedience. 1. Confessing our sins (1 John 1:9): Sin is one of the largest barriers that can hinder our relationship with God, however the good news is that when we confess and forsake our sins the barrier is automatically taken away. This is not to say that confession is only about saying sorry to God, rather it is a heartfelt, knowing our sins is an offense to A Holy God (bible verse). David is a perfect example of a man who was not ashamed and humbled himself to ask for forgiveness before God. This is one of the reasons why God calls David, â€Å"A man after my own heart† (bible Verse). 2. Listening to the Voice of God (2 Tim 3:16-17): Does God speak to people or is it something people make up? I want to reassure you that yes, God can speak to everyone. The key to hearing from God is to be attentive and always long to be in He’s presence. The presence of God is in your heart. You have to understand that God is with you all the time. If God is with you then He will speak to you. God can speaks to people in manyShow MoreRelatedChristianity, The World s Largest Religion1653 Words   |  7 Pagesof these denominations. In 1504, the first division of Christianity into branches occurred with the creation of Roman Catholicism and Eastern Orthodoxy. They separated due to the difference in belief of whether or not the Pope was the head of the church or not. They began the divide after the Seventh Ecumenical Council in 787 CE. This was an ongoing conflict that finally ended during the â€Å"Great Schism,† when Pope Leo IX excommunicated the patriarch of Constantinople, Michael Cerularius. In responseRead Mor eEssay about St. Catherine of Siena2006 Words   |  9 PagesSt. Catherine of Siena Catherine of Siena was born in Italy in 1347 at a time when political and religious changes were affecting the hierarchy of the Catholic Church. Dedicating her life to the Holy Spirit from a very young age, Catherine pursued a life of purity and simplicity that served as a background to her great literary work, The Dialogue of the Divine Providence . Her work focuses on the importance of prayer and its transcendent power in human life. In the early stages of CatherinesRead MoreThe Age Of The Reformation1780 Words   |  8 Pagessearch for the truth, and the birth of the denominational church. According to Shelley (2008) reformation brought about the end of papal leadership of western Christendom, while at the same time gave birth to Protestantism and its four traditions, which include Lutheran, Reformed, Anabaptist, and Anglican beliefs (Shelley, 2008). It is a period of enlightenment, in which Christians begin to interpret the Bible themselves and realize that God is attainable without the need of papacy bringing about queriesRead MoreEssay about Conformity and Rebellion in Conversion of the Jews1238 Words   |  5 PagesConformity and Rebellion in Conversion of the Jews Though it seems like a stereotype, all teenagers, at some point, choose to rebel against authority figures or conform with their friends. Part of growing up means becoming the person God intends you to be and finding out how to survive, or be independent, on your own. Conformity and rebellion, two issues that each human being has experienced, have great effects not only on the conformist and rebel, but on the people around themRead MoreEssay about Thomas Hardys Views on Religion1127 Words   |  5 Pagesnbsp; nbsp; Thomas Hardys views on God and Religionp Thomas Hardy was born into a religious family and brought up with very Christian values and morals. As he matured and was exposed to the new ideas of the time, he became conflicted in his views about God and religion. nbsp;He was criticized for writings that many of his peers considered to be obscene, immoral and blasphemous. Throughout his adult life, Hardy considered himself to be an agnostic. His poems show that he was much more complicatedRead MoreThe Resurrection Of Jesus Christ Essay1709 Words   |  7 Pagesno average person, he is the God the Father who came to this world and fulfilled the Old Testament laws and prophecies, died on the cross, and rose from the dead physically. As savior that came on earth to restore his people he performed many miracles which were recorded in the Gospels by the eyewitnesses. Jesus Christ is the divine in nature as well as human. Thus, he has two natures and is worthy of worship and prayer. Christianity teaches that there is only one God in a ll existence. Although philosophiesRead MoreThe Eucharist Is The Source And Summit Of The Christian Life2076 Words   |  9 Pages â€Å"The Eucharist is the source and summit of the Christian life.† All Catholics respect and signify the importance and the epic role of the Holy Eucharist in creating and building a strong relationship between God and humankind. The process of growth and development occurs for every human being, but this process is not just about the growth of the mundane body, but the spiritual body as well. A person cannot live more than one week without any food, and so for the spirit, it necessitates the HeavenlyRead MoreGender and Power in Perpetuas Passion 3152 Words   |  13 Pagescomments. Most of Perpetua’s narrative is about her experience after the capture, and her dreams, or visions, or the â€Å"revelations† of the divine to Perpetua. In this paper, I will discuss the presentation the symbols in her dreams, in order to exam the power balance of female and male presented in her voice, and reveal the struggle of Perpetua’s voice under the editor’s manipulation. Perpetua’s background already highlights her significance in the Christian community and even among the Christian womenRead MoreMy Personal Experience Of God7569 Words   |  31 PagesQuestions – Part I Describe your personal experience of God and the understanding of God you derive from biblical, theological and historical sources. I have a personal relationship with God the Father through the redemptive power of Jesus Christ and the keeping power of the Holy Spirit. I spend time daily in prayer, meditation and reading of the scriptures. My understanding of God is found in The Apostle Creed which states: I believe in God, the Father Almighty, maker of heaven and earth; And inRead MoreUt Unum Sint25504 Words   |  103 Pagesand communion The way of ecumenism: the way of the Church Renewal and conversion The fundamental importance of doctrine The primacy of prayer Ecumenical dialogue Local structures of dialogue Dialogue as an examination of conscience Dialogue as a means of resolving disagreements Practical cooperation CHAPTER II - THE FRUITS OF DIALOGUE Brotherhood rediscovered Solidarity in the service of humanity Approaching one another through the Word of God and through divine worship Appreciating the endowments

Tuesday, May 5, 2020

Music Publisher free essay sample

They discover the great songs and composers that we listen to today. They work hard to exploit these songs into the market and make money for both himself and his client. During this essay I plan to explore further into this career, I intend to discover more about the different aspects, such as, the role the publisher plays within the industry, the salary, and qualifications needed. I hope to look at some of the legal aspects also, including the contract between publisher and writer.I am interested to mind out exactly what it is that a music publisher does, especially on a day to day basis. The music publisher stands at the crossroads of Art and Commerce, where enthusiasm for the art and business sense meet or miss each other. My mall alma throughout this essay is too discuss this much debate question. I would like to include an interview from a music publisher and hear their view on this matter, and through my research conclude the matter with my own opinion. Music Publishing Music publishing is where the copyright creator (Songwriter) allows the business person (Music Publisher) to take on the responsibility of maximizing the earning attention of the creators endeavors. -Johnny Lapin. The mall purpose of a music publisher is to exploit, administer and collect royalties for its copyright properties. They acquire the rights to songs from lyricists, songwriters and composers; this is done through an agreement called a publishing contract.The publisher will license the composition, this helps monitor when and where the music is used, the publisher will then collect any royalties due for this usage. The publisher sells the rights to record companies (to make records), to sheet music publishers (to make sheet music kooks or digital sheet music to sell over the internet) and to the makers of film and adverts (synch). * There are five rights to which the music publisher has control of: ; Mechanical Rights Permission is needed to mechanically reproduce a licensed work.The money that is paid and collected for this licensing is called a Mechanical Royalty. Synchronization Rights This Is the rights to the use of music used In synchronization to a visual. Such as, In commercial advertising. The publisher would need to negotiate and issue a synchronization license so that the copyright can be used. * Print Rights usually publishers will issue sheet music of all copyrighted works, especially that of a major songwriter they represent. * Digital Print Rights It is now possible for publishers to make digital copies of all a songwriters sheet music and artists recordings.This can then be sold online through MIDI files, PDF files etc. * Public Performance Rights Public Performance Rights such as, IMPORT, collect royalties on the behalf of the publisher. They collect from Radio, Television, Retail stores and nightclubs etc. Which use music in an effort to enhance their music. Before the days of the singer/songwriter, music publishing was the music business. Publishers would acquire the copyrights to writers work and would then try to get the Nor exploited. Due to the fact that a lot of artists started writing their own music, the relationship between the publisher and the rest of the Industry began to change. Record Companies began to realize that if they singed an artist that write their own stuff they would not have any problems finding songs for the artist, and so they began looking for artists that could offer them this single package. An artist/ composer can hire a publisher or they can publish their music themselves. It costs round ?1 50 to register your own publishing company but not all artists have the time or skill to run this and can often end up going broke. He publisher handles the administrative aspects of the business, contracts need to be drawn up, collecting societies such as IMPORT in Ireland need to be dealt with, offices have to be run etc. They make sure that all the legal and financial areas of {Our song writing are under control. The publisher works to place songs in its catalogue with other recording artists to gain royalties for themselves and the writer. Publishers always work hard to promote the back catalogue of songs. In recent years there has been a trend to use old classics in T.V programmer and adverts; this has made a lot of money for publishers. However, publishing work is not Just about promoting a back catalogue of songs; they also need to keep in the present day. There are new artists and writers emerging all the time and it is vitally important for the publisher to keep in contact with AR departments and with the live music scene. Publishers often need to provide new songwriters and composers with the facilities they need to produce music and offering them advice in writing for particular markets.Typical Working day of a Publisher Open the mail, which will include letters and bills from Lawyers, record companies, managers, artists etc. The post will of course also include demo tapes. Ere publisher should listen to these tapes straight away or as soon as possible. They should then return the ones they do not like and keep the ones they do for further listening and investigation. * They then continue on with regular business, such as, drawing up new publishing deals, or renewing old ones. They may also have to deal Ninth staff issues. Large companies may employ between 50- 100 staff and smaller companies will only employ a handful. The publisher may have some business inch appointments with clients, their clients managers, potential clients etc. This lunch will be used to try and develop a relationship with these people. * When the lunch is finished the publisher may have to return phone calls, have more tapes to listen to. She/he may also have some songs to try and pitch, to be heard by singers, managers, record companies and basically anyone who is in the music business. * During the evening, while most people go home after their days work, the publisher Nil go out and try to find new acts to sign.For many songwriters and composers the truth is that when getting their first entrant they become so overwhelmed and excited, that they forget to read the small print and sign without thoroughly examining the contract. You should always read and make sure you understand a contract before signing it, or get the contract Checked by a professional body, such as, a solicitor preferably one qualified in music law. * There are three important points that must be negotiated between both parties before signing. These are: * The Term of the Agreement. * The Royalty Split between writer and publisher. The Territories covered by the contract. Ere Term he term covers the length of the agreement between the songwriter/composer and the publisher. The duration of the agreement can be based on years or on albums/ songs. The agreement may be for one, three, or five years or it might cover specific songs for the Life of Copyright; this is the life of the author plus seventy years. One ere important point to take notice of is that although some contracts might contract the writer for a period of time e. G. Three years, the works may be signed for life of copyright.The Royalty Split between writer and publisher There is no standard royalty split between writer and publisher, although according AAA practice dating back to 1914, a publisher cannot take more than 50%. The deal is always in favor of the writer. Modern contract would usually have a split of between 60/40 and 85/1 5, depending on a number of factors e. G. How good the song is. The Territories covered by the contract Ere Territory refers to the countries governed by the contract. This can depend on the nature of, and where exploitation can take place.Publishing deals can cover the Nor or can be broken down on a country by country basis. On the following page please find a sample of a music publishing contract, there is o such thing as a standard publishing contract as they are all different but this is a general sample of what one should appear as. EXCLUSIVE SONGWRITER AGREEMENT THIS AGREEMENT is made and entered into this day of between _(name) of _(address) by and (hereinafter referred to as Publisher), and _(name) Of _(address) hereinafter individually referred to as writer).FOR AND IN CONSIDERATION OF mutual covenants set forth, the parties do hereby agree as follows: 1 . Employment. Publisher hereby employs Writer to render his services as a songwriter and composer and otherwise as may be hereinafter set forth. Writer hereby accepts such employment and agrees to render such services exclusively for Publisher during the term hereof, upon the terms and conditions set forth herein. 2. Term. The term of this Agreement shall commence upon the date hereof and shall continue until 199_. 3. Grant of Rights. Writer hereby irrevocably and absolutely assigns, transfers, sets over, and grants to Publisher, its successors, and assigns each and every and all rights and interests of every kind, nature and description in and to the titles, words, and music of any and all original arrangements of musical compositions in the public domain in any and all licenses relating thereto, together tit all worldwide copyrights and renewals and extensions thereof, which musical works have been written, composed, created, or conceived, in whole or in part, by Writer alone or in collaboration with another or others, and which are now owned or controlled, directly or indirectly, by Writer, alone or with others, or as the employer or transferee, directly or indirectly, of the writers or composition, ad all worldwide copyrights and renewals and extensions thereof, all of which Writer does hereby represent are and shall at all times be Publishers sole and exclusive property as the winner thereof free from any adv erse claims or rights therein by any other person, firm or corporation. Attached hereto as Exhibit A is a list of musical compositions written and made a part of this Agreement.Writer acknowledges that, included within the rights and interests hereinabove referred to, but without limiting the generality of the foregoing, is Writers irrevocable grant to Publisher, its successors, licenses, subsequences and assigns, of the sole and exclusive right license, privilege, and authority throughout the entire world with respect to the said original musical impositions and original arrangements of compositions under the public domain, whether now in existence or hereafter created during the term hereof as follows: (a) To perform said musical compositions publicly, whether for profit or otherwise, by means of public or private performance, radio broadcasting, television, or any and all means, whether now known or which may hereafter come into existence; (b) To substitute a new title or titles for said compositions or any of them and to make any arrangement, adaptation, translation, determination or transportation of said impositions or any of them, in whole or part, and in connection with any other literary, musical or dramatic material, and to add new lyrics to the music of any said compositions or new music to the lyrics of any of said compositions, all as Publisher may deem expedient or desirable; provided, however, anything to the contrary notwithstanding, nothing contained herein shall be construed to allow Publisher to make any changes in Writers recorded performances. In the event Publisher is directly involved in the printing of sheet music containing Writers musical compositions Publisher agrees to make all reasonable effort to produce a production of Writers original recording of such composition as accurately as possible. C) To secure copyright registration and protection of said compositions in Publishers name or otherwise as Publisher may desire at Publisher s own cost and expense and at Publishers election, including any and all renewals and extensions of copyrights, and to have and hold said copyrights, renewals, extensions and all rights of whatsoever nature thereunto existing, for and during the full term of all said copyrights and all renewals and extensions thereof; (d) To make or cause to be made, ND to license others to make, master records, transcriptions, sound tracks, pressings, and any other mechanical, electrical or other productions of said compositions, in whole or part, in such form or manner and as frequently as Publishers sole and uncontrolled discretion shall determine, including the right to synchronize the same with sound motion pictures, and the right to manufacture, advertise, license or sell such reproductions for any and all purposes, including, without limitation, private pictures, wired radio or cable television, phonograph records and any and all other means or devices whether now known or which may hereafter come into existence. To print, publish and sell, and to license others to print, publish and sell, sheet music, orchestrations, arrangements and other editions of the said compositions in all forms, including, without limitation, the inclusion of any or all of said compositions in song folios, song books, mixed or lyric magazines with or without music; and (f) Any and all other rights of every and any nature now or hereafter existing under any by dirtied of any common law rights and copyrights and renewals and extensions thereof in any and all such compositions.Writer grants Publisher, without any compensation other than specified herein, the perpetual right to use and publish and to permit others to use and publish Writers name (including any professional name heretofore or hereafter adopted by Writer), Writers photograph or any other likeness, which shall be approved by Writers logos and trademarks whether now in existence or created during the term hereof and biographical materi al concerning Writer, and the titles of any and all of the compositions hereunder, in connection with the printing, sale, advertising, performance, distribution and other exploitation of the impositions hereunder, and for any other purpose related to the music business of Publisher, its affiliated and related companies, or the refrain therefore. This right shall be exclusive during the term hereof and nonexclusive thereafter. Writer grants Publisher the right to refer to Writer as Publishers Exclusive Songwriter and Composer or any other similar appropriate appellation, during the term hereof. 4.Narrates, Representations, Covenants and Agreements: Writer hereby warrants, represents, covenants and agrees as follows: Writer had the full right, power and authority to enter into and perform this Agreement and to grant to and vest in Publisher all the rights herein set forth, free and clear of any and all claims, rights and obligations whatsoever; all of the compositions and all other results and proceeds of the services of the Writer hereunder, including all the titles, lyrics and music of the musical compositions, and each and every part therefore, delivered and to be delivered by Writer hereunder are and shall be new and original and capable of copyright protections throughout the entire world; no musical composition reminder nor any part thereof shall be an imitation or copy of, or shall infringe upon any other material, of shall violate or infringe upon any common law or statutory rights of any part including without limitation, contractual rights and copyrights and rights of privacy, and Writer has not sold, assigned, leased, licensed or in any way disposed of or encumbered any composition or rights herein granted to Publisher, not shall Writer sell, assign, lease, license or in any other way dispose of or encumber any of the compositions or said rights. 5.Power of Attorney: Writer does robbery irrevocably constitute, authorize, empower and appoint Publisher, or any of TTS officers, Writers true and lawful attorney (with full power of substitution and delegation), in Writers name, and in Writers place and stead, or in Publishers name, and to take and do such action, and to make, sign, execute, acknowledge and deliver all instruments or document, which Publisher, or its, successors, assigns and licens es, all of the rights or interests granted by Writer hereunder, including, without limitation, such documents as Publisher may deem desirable or necessary to secure entire term of copyright and for any and all renewals and extensions. 6. Compensation : Provided the Writer shall faithfully and completely perform the terms, covenants and conditions of this Agreement, Publisher hereby agrees to pay Writer for the services to be rendered by Writer under this Agreement, and for the rights acquired hereunder, the following compensation based on the musical compositions Inch are the subject hereof: (a) Ten percent (10%) of the wholesale selling price per copy for each piano copy and dance orchestration printed, published and sold in the United States and Canada by Publisher or it;s licensees, for which payment has been received by Publisher, after deduction of returns. B) Twelve and on-half (12-112%) of the wholesale selling price upon each printed copy of each other arrangement and edition printed, published and sold in the United States and Canada by Publisher or TTS licensees, for which payment has been received by Publisher, after the deduction of return, except that in the event that any compositions shall be used or caused to be used, in whole or part, in conjunction with one or more musical composition in a folio, album or any other publication. Writer shall be entitled to receive that proportion of said twelve and one-half percent (12 1/2%) which the subject compositions shall bear to the total number of musical compositions contained in each folio, album, or publication. C) Fifty percent (50%) of any and all net sums actually received (less any costs for collection) by Publisher in the United States from the exploitation in the United States or Canada by the licensees of Publisher of mechanical rights, electrical transcription and reproduction rights, motion picture and television synchronization rights and all other rights(excepting printing rights ND public performing rights) therein, whether or not such licensees are affiliated Ninth, owned in whole or part by, or controlled by Publisher. (d) Writer shall receive his public performance royalties throughout the world directly from the perf orming rights to which he is affiliated (I. E. American Society of Composers, Authors and Publishers, Broadcast Music Inc. .. ) and shall have not claim whatsoever against Publisher for any royalties received by Publisher from any performing rights society Inch makes payments directly (or indirectly other than through the Publisher) to Miters, authors and composers. ) Fifty percent (50%) of any and all net sums, after deduction of foreign taxes, actually received (less any costs for collection) by Publisher in the United States from sales, licenses and other uses of the subject musical compositions in countries outside the United States and Canada (other than public performance royalties as herein mentioned in (d) above) from collection agents, licensees, sub publishers or others, whether or not same are affiliated with, owned in whole or part by, or controlled by Publisher. (f) Publisher shall not be required to pay any royalties on professional or complimentary copies or any copies casual derivatives which are distributed gratuitously to performing artists, orchestra leaders and disc Jockeys or for adv ertising, promotional or exploitation purposes.Furthermore, no royalties shall be payable to Writer of consigned copies unless paid for, and not until such time as an accounting therefore can be properly made. (g) Royalties as hereinabove specified shall be payable solely to Writer in instances here Writer is the sole author of the entire composition, including the words and music thereof. However, in the event that one or more other songwriters are authors Publisher to add, change, or translate the words or to revise or change the music), the foregoing royalties shall be divided equally between Writer and the other songwriters unless another division of royalties is agreed upon in writing between the parties concerned and such written agreement is submitted to publisher prior to payment. 7.ACCOUNTING: Publisher shall compute the total composite royalties earned by Inkier pursuant to this Agreement and pursuant to any other agreement between Inkier and Publisher, whether now in existence or entered into at any time subsequent hereto, on or before September 30th for the semi-annual period ending he preceding June 30th, and shall thereupon submit to Writer the royalty statement for each period together with the net amount of such royalties, if any, as shall be payable after deducting any and all recouped advances and chargeable costs under this Agreement or any other ag reement between Writer and Publisher. Upon the submission of each statement, Publisher shall have the right to retain, with respect to print sales as a reserve against subsequent charges, credits or returns, such portion of payable royalties as shall be necessary and appropriate in its best business Judgment.All statements rendered by Publisher to Writer shall be binding upon Inkier and not subject to any objection by Writer for any reason unless specific rewritten objection, stating the basis thereof, is submitted by Writer to Publisher within one (1) year from the date rendered. Writer or a certified public accountant in his behalf may, at Writers expense, and at reasonable intervals, examine Publishers books relating to activities during the accounting period for said statement. 8. ACTIONS: Publisher may take such action as it deems necessary, either in Writers name or in its own name, against any person to protect all rights and interests acquired by Publisher hereunder. Writer will, at Publishers request, cooperate fully Ninth Publisher in any controversy which may arise or litigation which may be brought concerning Publishers rights and interests obtained hereunder.Publisher shall have the right to, in its absolute discretion, to employ attorneys and to institute or defend any action or proceeding and to take any other proper steps to protect the right, title and interest of Publisher in and to each musical composition hereunder and every oration thereof and in that connection, to settle, compromise or in any other manner dispose of any matter, claim, action or proceeding and to satisfy any Judgment that may be rendered, in action brought by Publisher against any alleged infringer of any musical composition shall be initiated and prosecuted as a result ther eof after deduction of the expense of litigation, including but not limited to attorneys fees and court cost, a sum equal to fifty percent (50%) of such net proceeds shall be paid to Inkier. Writer agrees to and does hereby indemnify, save and hold Publisher armless from any and all loss connected with any claim by a third party which is inconsistent with any in this Agreement, and Writer agrees to reimburse Publisher, on demand, respect to any liability or claim to which the foregoing indemnity applies. Pending the determination of any such claim, Publisher may withhold payment of royalties or other monies hereunder. 9.NOTICES: Any written notices which Publisher Nil desire to give Writer hereunder and all statements, royalties and other payments Inch shall be due to Writer hereunder shall be addressed to Writer at the address et forth on Page 1 hereof until Writer shall give Publisher written notice of a new addressed to Publisher at the address set forth on Page 1 hereof until Pu blisher shall give Writer written notice of a new address. All notices shall be delivered by hand or served by mail, postage prepaid, or telegraph office, whichever shall be first, shall be deemed the date of service. 10. ENTIRE AGREEMENT. This Agreement supersedes any and all prior negotiations, understandings, and agreements between the parties hereto with respect to the subject matter hereof.Each of the parties acknowledges ND agrees that neither party has made any representations or promises in connection with this Agreement nor the subject matter hereof not contained herein. 11. COLLABORATION AND SEPARATE AGREEMENTS: Whenever Writer shall collaborate with any other person in the creation of any musical composition, and such musical composition shall be subject to the terms and conditions of this Agreement, and Writer warrants, represents and agrees that prior to the collaboration with any other person, such other person shall be advised of this exclusive agreement and advised that all such composition must be published and wend by Publ isher. In the event of such collaboration with any other person, Writer shall cause such other person to execute a separate songwriters agreement with respect thereto, which agreement shall set forth the division of the songwriters share of income between Writer and such other person, and Publisher shall make payment accordingly. (b) If Publisher so desires, Publisher may request Writer to execute a separate agreement in Publishers customary form with respect to each musical composition hereunder. Upon such request Writer shall promptly execute and deliver such separate agreement. Publisher shall have the right, pursuant to the terms and conditions hereof, to execute such separate agreement in behalf of the Inkier hereunder.Such separate agreement shall supplement and not supersede this Agreement. In the event of any conflict between the provisions of such separate agreement and this Agreement, the provisions of this Agreement shall govern.. 12. Nerves SERVICES: Writer agrees to perform the services required hereunder conscientiously and solely and exclusively for and as requested by Publisher. Writer shall promptly and faithfully comply with all requirements and requests made by Publisher in connection with its business as set forth herein. Writer shall deliver a manuscript copy of each material composition hereunder immediately upon the completion or acquisition of such musical composition.Publisher shall use its reasonable efforts in its best business Judgment to exploit all compositions hereunder, but Publishers failure to exploit any or all said compositions shall not be deemed a breach hereof. 13. MODIFICATION, WAIVER, INVALIDITY, AND CONTROLLING LAW: This Agreement may not be cancelled, altered, modified, amended or waived, in Manhole or in part, in any way, except by instrument in writing signed by the party ought to be bound. The waiver by either party of any breach of this Agreement in any one or more instances shall in no way be construed as a waiver of any subsequent breach of this Agreement. (Whether or not similar in nature).If any part of this Agreement shall be held to be void, invalid or unenforceable, it shall not affect the validity of the balance of this Agreement. This Agreement shall be deemed to have been made in the State of and its validity, construction and effect shall be governed by the laws of the State of _(state)_ applicable to agreement wholly and executed by Writer. 14. UNIQUE SERVICE: Writer acknowledges that the services rendered hereunder are of a special, unique, unusual, extraordinary and intellectual character which gives them a particular value, the loss of which cannot be reasonably or adequately compensated in damages in any action at law, and that a breach by the Writer of any of the provisions of this Agreement will cause Publisher great and irreparable injury and damag e.Writer expressly agrees that Publisher shall be entitled to the remedies of injunction and other equitable relief to prevent a breach of this Agreement or any provision hereof which relief shall be in addition to any there remedies for damages or otherwise, which shall be available to the Publisher. 15. ASSIGNMENT: Publisher shall have the right to assign this Agreement or any of its rights hereunder to any party. Writer does not have the right to assign this Agreement. 16. DEFINITION: For the purpose of this Agreement, the word person means and refers to any individual, corporation, partnership, association or any other organized group of persons legal successors or representatives of the foregoing.Never the expressions the term of this Agreement or period hereof or words f similar connotation are included herein, they shall be deemed to mean and refer to the initial term of this Agreement and any and all renewals, extensions, substitutions or replacements of this Agreement, whether expressly indicated or otherwise. Where more than one person shall comprise Writer, the singular shall also Include the plural, as applicable. 17. RESENTMENTS: It is understood and acknowledged that any and all charges or advances against royalties under this Agreement may be recouped only from the royalties earned hereunder. No cross collateralizing exits between this Agreement and any other facet of the Writers equines or career. A) In respect of all rights herein granted Publisher in and to any and all musical compositions written by Writer which are not recorded and released as a commercial record prior to the termination of this Agreement, it is understood and agreed that all such rights shall revert to Writer automatically upon the termination of this Agreement. (b) In respect of any and all musical compositions Inch are released as a commercial record for sale to the public, it is understood and agreed that all such rights herein granted to Publisher shall terminate fifty (50) years room the date of creation as such date is shown on the copyright registration form and the copyright ownership shall revert to Writer a nd/or his/her heirs.IN WITNESS NOWHERE, the parties hereto have executed this Agreement as of the date and year above written. Publisher Inkier Qualifications Needed There are no specific qualifications needed for a career in music publishing. Some knowledge or qualification in music, especially in the Music Industry will be a major help in getting you on your way. One of the best ways to break into the music publishing area is to get a position, no matter how small in a publishing company. His is where you will learn most of the skills needed to become a publisher, for example, when and where a piece of music can be exploited. Legal qualifications of copyright works.The majority of Jobs in music publishing would be considered administrative, these include, royalty manager, financial controller, business affairs etc. Creative Jobs in this area would include, Managing Director, Creative Director and A;R. The main aim for anyone who wishes to work in music publishing is to run their own company. In this case, one of the first things you should do is sign Ursula up with a performance rights society, such as, IMPORT. You should then choose a name for your company and get name clearance; performance rights companies will not let you use the name if it is similar to another. Using your own name will establish uniqueness.Complete an application with a performance rights organization, with the help of a solicitor who is qualified in the music industry. One of the most important things to do is to make contacts within the music industry. You Nil need to have a good ear and eye for songs and music that will have a high chance of being published. Salary off Publisher It is difficult to determine the salary off publisher. Their income can vary depending on a number of factors, including, the number of songs he has recorded, how successful the songs are etc. Publishers usually take a cut of the royalties earned by their writers. An 80:20 or 88:15 split in the writers favor is usually common.Some top selling songs receive 100% royalties but the publisher is depending on these top sellers to attract other writers to sign up with them. To be creative and to earn more money, publishers often invest in a back catalogue which can be re-exploited in a ewe way. One of the most exciting things about music publishing is that at any moment a good song can become a hit, bringing in thousands. A publishers salary can go from nothing too million or more in a year. Interview with Johnny Lapin Ionian Lapin began his career in Music Publishing in 1976. He has been one of the key fugues in Irish Publishing since dealing with the publishing interests of Cleaned during their most successful time.

Saturday, April 11, 2020

How To Become a Great Self-Editor 7 Questions To Improve Your Writing - The Writers For Hire

HOW TO BECOME A GREAT SELF-EDITOR: 7 QUESTIONS TO IMPROVE YOUR WRITING We’ve said it before, and we’ll probably say it again: Editing is an essential part of the writing process. Every writer from the bestselling novelist to the complete novice can benefit from a thorough review by a critical, impartial eye. Of course, it’s hard to be critical and impartial about your own work. This is also true for every writer, which is why professional editors exist. This doesn’t mean it’s impossible to become a skilled self-editor. Like writing, editing is a skill: The more you practice, the better you get and the easier it is to approach your own writing with a set of fresh eyes. Want to sharpen your editorial skills? Here are a few questions to ask as you review your draft: 1. Is each sentence as clear as it could be? Each sentence in your writing should say exactly what you want it to say. Vague details, confusing descriptions, or meandering run-ons can cloud your meaning and confuse your reader.   Hands down, the best quick reference to concise writing is (still) Strunk and White’s The Elements of Style. 2. Are there any sentences that feel clunky or awkward? A good way to check: If you suspect that a sentence is a bit unwieldy, read it aloud. Nine times out of ten, you’ll know if you need to revise. 3. Have I varied my sentence length? Too many short sentences can make a piece of writing feel choppy. Too many long ones can feel rambly. Ideally, your writing should have a good balance of short and long sentences. 4. Can I eliminate any passive sentences? Passive sentences are almost always a no-go. Rewrite them. Here are a few examples:Passive:   â€Å"The book was written by a ghostwriter. Active: â€Å"A ghostwriter wrote the book† Passive: â€Å"The patient was examined by the doctor.† Active: â€Å"The doctor examined the patient.† Passive: â€Å"Each component is designed and built by an experienced engineer.† Active: â€Å"Experienced engineers design and build each component.† 5. Does every paragraph begin with an interesting sentence? The first sentence of each paragraph should make you want to keep reading. As you review each paragraph in your draft, look for opening sentences that surprise, raise questions, or build suspense.  Ã‚   6. Does every paragraph â€Å"flow† into the next? Look for a logical progression of ideas. Does each paragraph feel connected to the one before it? The one after it? Are there any paragraphs that seem like they don’t â€Å"fit† together? Any jarring or abrupt shifts in time, subject matter, point of view, or tense? 7. Does this â€Å"sound† like you wanted it to? When you started writi ng, you probably had an idea of the tone, or â€Å"voice,† you were aiming for. Read your writing aloud. Do you want your writing to sound more casual and conversational, like you’re chatting with a friend? Use lots of contractions, start sentences with â€Å"and† and â€Å"but,† and don’t be afraid of sentence fragments. Want something more formal? Stick to English-class grammar rules and sentence structures instead.

Tuesday, March 10, 2020

The conflicting responses, which the character of Shylock provokes in the audience Essays

The conflicting responses, which the character of Shylock provokes in the audience Essays The conflicting responses, which the character of Shylock provokes in the audience Paper The conflicting responses, which the character of Shylock provokes in the audience Paper Essay Topic: Play Written sometime between 1596 and 1598, The Merchant of Venice is classified as both an early Shakespearean comedy and as a problem play; it is a work in which good triumphs over evil, but serious themes are examined and some issues remain unresolved. In the play, Shakespeare wove together two classic folk tales, one involving a vengeful, greedy creditor trying to take a pound of flesh, the other involving a fight for the hand of a rich princess with a correct choice among three chests and thereby winning his companion. Shakespeares writing of the first tale centres on the Jewish moneylender Shylock who seeks a literal pound of flesh from his Christian opponent, the generous, faithful Antonio. In Shakespeares A Merchant of Venice, the character Shylock provokes conflicting responses in the audience. Throughout the play, Shylock is portrayed as being a greedy, malicious and bitter man, who is hated for his religion and his money lending. However, the audience is still able to recognise an injustice in the way he is treated. Shylock is shunned from society, principally because of his Jewish background. Therefore, the audience have conflicting feelings towards the character. Shakespeare achieves this effect through varying language techniques and dramatic devices. In this essay I will be looking at the different perceptions of Shylock and how Shakespeare controls them in order to answer the question; is Shylock a victim or a villain? The audiences perceptions of Shylock vary dramatically throughout the play. For example, Shakespeare portrays Shylock as being racist, selfish, profane and without integrity in Act 1 Scene 3, during Shylocks aside. Shylock tells the audience: I hate him for he is a Christian. This quote shows Shylock as being racist. Another quote from the aside shows the character as being without integrity: If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. This quote also shows him as being grudge bearing, ruthless and unforgiving. Passages such as this aside give the audience the perception that Shylock is the villain of the play. Shylock is petty in his hatred of Antonio, and this gives the audience a bad impression of the character. However, the audiences opinion of Shylock changes as the play continues. For example, the audience take a more sympathetic view to Shylock in Act 3 Scene 1. Shylocks To bait fish withal speech is a pivotal moment in the play, and subsequently, is pivotal to the audiences perceptions of Shylock. The speech shows Shylocks sensitive side and sways the audience into thinking that he has reason to be embittered and that perhaps Antonio, plus the other men on the Rialto are the villains of the play, and Shylock is indeed a victim. Certain quotes from the play, such as the comparisons between Christians and Jews: If you prick us, do we not bleed and fed with the same food, hurt with the same weapons are particularly powerful moments in the speech and appeal massively to the audiences empathetic side. Overall, the audiences perception of Shylock swings from dislike to sympathy, and from contempt to understanding. Therefore, throughout the play it is hard to suggest whether Shylock is a victim or a villain. During Shakespeares time, anti-Semitism was very prominent. Christians hated Jews for their religious backgrounds and principally, the Jewish role in the death of Jesus Christ. Because of this hatred, many Jews were shunned from society and discriminated against because of their religion. For example, when a Portuguese Jew called Roderigo Lopez was accused of plotting to kill the Queen. During the trial, Lopez was called worse than Judas himself and of a religious profession fit for any execrable undertaking. However, far worse, the Judge himself referred to Lopez as that vile Jew. In The Merchant of Venice Shylocks character reflects the feelings harboured towards the Jews at the time. In the play, Shylock is not allowed to prosper and is particularly denied by Antonio, a wealthy Christian. It is this rivalry between Shylock the Jew and Antonio the Christian that provides the spine of the play. In my opinion, Shakespeare used this rivalry to write the play and in turn highlight the prejudice that was very strong at the time towards Jewish people. Speeches and sections of the play, such as Shylocks speech To bait fish withal portray the message that the Jews are spurned by society, however, they also ask the question of why the Jews are hated when there are so many similarities between Jews and Christians? Therefore, I suggest that Shakespeare wrote the play to educate the audience about Jewish people and how they should not be discriminated against because of their beliefs. The relationship between Antonio and Shylock is very heated. This is highlighted in Act 1 Scene 3 when the bond is agreed between the two. Both men dislike each other and compete intensely for they are both in the money lending trade. Moreover, their hatred runs deep due to their conflicting religions. Antonio is a Christian, and Shylock is an orthodox Jew. My first impressions of Shylock are that he is a shrewd businessman with a ruthless attitude. He is strong willed and determined. I also see him as being bitter and resentful. This opinion is based on Act 1 Scene 3, when Shylock agrees the bond with Antonio. This is apparent throughout the scene and is portrayed by the way Shylock is running the situation. He makes it clear that he is in control and the bond is made to seem far more important to Antonio and Bassanio than it is to Shylock. This is a dramatic device used by Shakespeare that is used to create an image of Shylock. Quotes such as: Three thousand ducats I think I may take his bond show Shylock as being care free about a very large sum of money. Words such as may show that it is not necessary for Shylock to take his bond and consequently, he is in control. This, coupled with the characters demeanour throughout the scene paints the picture that Shylock is very clever, wily and assured with his finances. However, Shylocks aside in this scene conveys to the audience that all is not what it seems; Shylock is acting cool about the bond so as to seem carefree. The aside shows Shylocks darker, far more cynical side. As aforementioned, he speaks of his contempt for Antonio as he is a Christian, and perhaps more importantly, he is a moneylender, who charges no interest on his loans, therefore is Antonio is strong competition to Shylock. Because of this rivalry and the hostility between the two men, either would take delight in having any hold over them. The fact that Shylock has this bind in the early stages of the play tells the audience that he is a villain because he has control over another man once the bond is sealed. Moreover, Antonio is a gentleman and is seen as the hero of the play; therefore, his enemy Shylock must be the villain, particularly if he has a hold over Antonio that could threaten his life. Act 3 Scene 1 is a very instrumental part of the play when answering the question; is Shylock a victim or a villain? In this scene, Shylock reports the loss of his daughter to Solanio, Salarino and consequently the audience. Shylocks daughter, Jessica, has fled Venice and Shylocks care with Lorenzo and all of her fathers wealth. This clearly angers Shylock, however this anger is furthered due to Lorenzos religious beliefs he is a Christian. Shylock and his daughter are Jewish, the fact that Jessica should run away with someone who is not of Jewish background enrages Shylock. This is particularly the case as Jessica ran away with a Christian she ran away with someone whose religion had caused her father so much indiscretion and humiliation. In this scene it is ambiguous as to whether Shylock cares more for the money he has lost, or for the loss of his only daughter. For example, quotes such as: I say my daughter is my own flesh and blood show that Shylock is distraught over the abandonment subjected to him by his daughter. Jessica was all Shylock had, and for her to leave him must have been both deeply hurtful and angering. However, there are many quotes further on in the scene when Shylock is discussing his daughters plight with Tubal, who had been searching for Jessica that suggest otherwise. For example: I would my daughter were dead at my foot, and the jewels in her ear: would she were hearsd at my foot, and the ducats in her coffin this quote is a perfect example of how materialistic Shylock is and how he cares more for his money than for the one person in the world he had a real connection with. This quote in particular shows Shylock, as being a villain, as the audience would find it hard to relate to a man who wishes his own daughter be dead, let alone sympathise with such a person, no matter what has brought this wish to his mind. The language used here is extremely vivid. For example, I would she were hearsd at my foot, and the ducats in her coffin. Words such as coffin and hearsd are excellent expression used to really paint a picture in the audiences mind of Shylock being a heartless murderer. Shakespeare makes it this way so as to create a sense in the audiences mind of Shylock stood over his daughters lifeless body, with his riches returned to him. The effect of this on the audiences opinion of Shylock is that of Shylock being ruthless and overwhelmingly materialistic. Consequently, Shylock is seen as a terrible villain. This negative side to Shylocks character is also highlighted in Act 2 Scene 8, when Salanio speaks of how Shylock reacted to his daughters renunciation. Salanio quotes Shylock as saying: A sealed bag, two sealed bags of ducats, Of double ducats, stolen from me by my daughter, And jewels, two stones, two rich and precious stones, stolen by my daughter: justice, find the girl, She hath the stones upon her and the ducats. This quote shows how Shylock is frenetic about the loss of his daughter; however, he is inconsolable over the taking of his wealth and possessions. This shows Shylock to be obsessed by money, and greedy and selfish in his pursuit for wealth. However, half way through Act 3 Scene 1, Shylock has an infinitely poignant speech in which he outlines the prejudices faced by him. This speech confuses the audience over whether Shylock is a villain or a victim. In this speech beginning To bait fish withal Shylock outlines the prejudices facing him and how they have embittered him. This speech appeals to the audiences sympathy and makes the issue as to whether Shylock is a victim or a villain clouded. During the speech, Shylock compares the similarities and differences between himself and Antonio. When explaining why Antonio has shunned him he says: I am a Jew. This is a massively important moment in the play. Here, the audience is at the point where they are most sympathetic for Shylock as he argues that the reason as to why he has been treated badly is simply for his religious beliefs. Shylock is seen as the victim of racial discrimination, which in modern society is seen as utterly disgraceful. Shakespeare then continues to put forward Shylocks case against Antonio by using many figurative language techniques. For example, vivid imagery is used throughout the speech and this is highlighted by quote such as: I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions Here repetition is also used to highlight the fact that aside from their religious backgrounds there is nothing palpably different between Shylock the Jew and Antonio the Christian. Repetition is also used further on in the speech: fed with the same food, hurt with the same weapons, subject to the same diseases healed by the same means, warmed and cooled by the same winter and summer as a Christian is. This quote is an excellent example of the fantastic imaginary and persuasive language used by Shakespeare. In this quote the audience is on the side of Shylock, the audience realises that he is a victim of racism and can be forgiven for his misdemeanours. This forgiveness is strengthened by Shylock furthering his argument in a far more forceful way as Shakespeare writes an air of defiance into Shylocks persona: if you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge? This quote in particular shows that Shylock, and the entire Jewish race are but only human and in almost every way similar to their Christian counterparts. This has the effect on the audience of thinking that if Shylock is not entirely different from the men on the Rialto and Antonio in particular, why do they hate him so? Shakespeare created this speech for the character to enthral the audience by creating two characters who oppose each other and who the audience can identify with. However as an alternative interpretation, I also believe that Shakespeare created this speech for the audience to give a voice to the Jewish community and perhaps give them a chance to persuade the Christian community to understand that Jews should not be discriminated against because of their beliefs, nor should any religious community. Shakespeare, in my opinion was not a racist man, nor was he afraid to shock an audience. I believe that Shylocks speech was designed to both add weight to the conflict between the two men and consequently the two religions and to add weight to the Jewish plight, which in the days of A Merchant of Venice was met with more than a little trepidation. Whilst the speech uses varying technical devices in order to enthral the audience in Shylocks plight, the language of the speech can be very ordinary. The language still naturally holds a Shakespearean tone and rhythm, however many sentences are distinctly colloquial. Shakespeare uses this effect in order to make the character seem human. This will help the audience to relate to Shylock. This, in turn, will encourage the audience to continue to question whether Shylock is indeed a victim or a villain, which will interest them further in the play. The structure of Act 3 Scene 1 is crucial as to whether the audience sees Shylock as a victim or a villain. The structure is worked so as Shylock is seen as a victim one minute and a villain the next. For example, Shylock is seen as a victim in his speech To bait fish withal yet is seen as a villain just minutes in the play later when he is conversing with Tubal about how Antonio has suffered misfortune with his fleet of ships, and is therefore subject to Shylocks clauses as written in the bond. When Tubal explains Antonios disposition to Shylock, he responds by saying: I am very glad of it, Ill plague him, Ill torture him, I am glad of it. This quote shows the villainous side to Shylock in full light. Shylock is cheered by the news of Antonios loss and looks forward to taking his pound of flesh without haste. This structure is one of the main reasons as to why it is unclear to the audience as to whether Shylock is a victim or indeed whether he is a villain. After Act 3 Scene 1, the audience will be unsure as to whether Shylock is a victim or a villain. Shylock will be seen as a victim of racism due to his speech to bait fish withal and how the Christians scorn him, for example the rudeness shown to him by Salario and Salarino in the scene. The audience will also feel sympathetic to Shylock, as the one person in the world he thought he could trust in has abandoned him with almost his entire wealth. However, the audience will also be aware that the character is materialistic, as shown by his response to his daughters fleeing. The audience will also feel that Shylock is viscous and a coward by how he is delighted by the news that Antonio must take the forfeit as written in the bond and Shylock can take a pound of flesh from him. These conflicting responses, coupled with the structure of this particular scene will make it impossible to decide whether Shylock is definitely a victim or definitely a villain. Another scene that contributes particularly to answering the question: is Shylock a victim or a villain? is Act 4 Scene 1 (the court scene). In this scene, Shylock is questioned as to whether he is certain he wants to take his bond, and with it Antonios life. This scene is very dramatic, however, the audience would be relaxed as they would expect Shylock to give in to the pressure placed on him and not take his bond, the audience expects Shylock to show mercy and not be the villain that he seems to be. However, this is not the case until Shylock is forced into negotiating the bond. It is necessary for Shakespeare to not allow Shylock to show mercy to Antonio, as this would be what the audience expects, which of course would make the outcome of the play rather predictable. Instead, suspense is maintained through Shylocks relentless demand of a pound of Antonios flesh. While the audience expects Shylock to capitulate, he does not. This begins to make the audience unsure of the outcome of the play and makes them anxious as to whether the hero, Antonio, will suffer the unthinkable. Portia also maintains suspense. Bassanios new love is acting as a lawyer for Antonio. She is particularly intelligent and is well aware that there are circumstances in the bond that mean Antonios life will ultimately be spared. However, she does not make these legislations known to the court for some time. She does this in order to give Shylock the opportunity to prove that he is not an unforgiving man by sparing Antonios life and by doing this suggesting that he is misunderstood and mistreated by the Christians. Portia waits right up until Shylock is preparing to plunge the knife into Antonios waiting torso before declaring her knowledge: Shed thou no blood, nor cut thou less nor more but just a pound of flesh: if thou takst more or less than a poundthou diest, all thy goods are confiscate. After Portia has declared this, the suspense is cleared. Shakespeare delivers this scene wonderfully, as the audience are certain that Shylock will surrender, until the knife is almost thrust into Antonios chest and Portia prevents the Christians death. The suspense is maintained throughout, and the audience are still unsure as to whether Shylock is a victim or a villain, which keeps them eternally interested in the play. A variety of dramatic devices are also used in Act 4 Scene 1. For example, the structure of the scene is used as a dramatic device. The scene is littered with long, drawn out speeches, made by the varying characters, particularly Shylock as he argues his case, and by Antonio who protests his innocence. The Duke and Portia also have large parts to play in this scene. The different characters tend to speak in turn throughout the scene, as one would expect from a court scene. This creates the sense of an argument. This coupled with some strong points from each corner make it very hard for the audience to conclude as to who is in the wrong. However, the underlying consensus will be that Antonio does not deserve to die for his misdemeanours. This argumentative structure is particularly prominent towards the beginning of the scene. Firstly, the Duke states the case against Shylock and for Antonio, with a speech that is centred on appealing to Shylocks guilty side, and is designed to make him see sense. The speech has a tone of superiority, even at a time when humility would be well advised, as Shylock holds al the cards. The very last line of the Dukes speech highlights this aloofness, when he spits: We all expect a gentle answer Jew. This quote is hugely effective in making the audience sympathetic towards Shylocks cause, as the reference to Shylocks religious beliefs are completely irrelevant to the running of this trial. Following this, Shylock has his chance to speak and does so by insisting that he will secure his bond, and take a pound of Antonios flesh: And by our Holy Sabbath I have sworn to have the due and forfeit of my bond. After both sides have stated their cases, the argument becomes more frantic with the characters remaining stubborn and continuing their argument in short bursts. For example, Bassanio argues with Shylock, suggesting that Shylock is inhumane with rhetorical questions, such as: Do all men kill the things they do not love? It is short and well-timed phrases or questionings such as these, which continue throughout the scene, making it difficult for the audience to conclude as to whether Shylock is a victim or a villain. As an alternative interpretation, these rhetorical questions and short, snappy accusations, which Shylock has no chance to dismiss, may reflect the trial itself. The trial is certainly less than fair, and the pressure that the defending characters put on Shylock is also unnecessary. This is similar to the way Shylock is unable to defend himself from the threats and accusations sent his way. Overall, the structure of the scene makes it very hard for the audience to conclude as to whether Shylock is a victim or a villain. This is due to the opposing arguments being put forward in turn by each member of the scene, thus creating an uncertainty as to who is in the right, or wrong. These arguments are both equally convincing. However, overall, Shylock is made to be seem villainous by the structure of the scene as he is forced to remain stubborn and repel the opposition time after time as their case is argued often and in short and some long bursts, rather than Shylock denying their pleaful requests once only. Shakespeare has structured the scene this way in order for the audience to be unsure of who is in the right. The audience members will be able to identify with both sides of the argument, therefore they will want to follow the play further as the suspense is maintained as to who will prevail, and ultimately who will be the victim, and who will be the villain. As the scene unfolds, Shylock seems to be facing a battle that was lost before he began. The population of the courtroom is against him and his wishes. Shylock faces tremendous pressure from the defenders of Antonio, and Antonio himself, not to mention the Duke (the judge) also. While Shylock seems to be losing his battle, the audience feels ultimately that right has been done, in saving Antonios life, however, there is a sense of injustice as to how Shylock has been treated. Throughout the scene, Shylock is badgered by his opposition as they try to make him feel guilty for claiming what is rightfully his. This is highlighted by quotes such as: Not on thy sole, harsh Jew, thou makst thy knife keen. But no metal can, no, not the hangmans axe, bear half the keenness of thy sharp envy. Can no prayers pierce thee? reasons Gratiano, as he seeks to save Antonio by swaying the mind of Shylock and his conscience. Shylock continues to seek what is rightfully his, when Gratiano outrages: O be thou damned, inexcrable dog. This quote shows that Shylock is being treated awfully during the trial, and the trial is anything but fair. However, the audience will side with Antonio because they will believe that he does not deserve to die for his crime. However, the truth remains that Shylock has been denied the right to a fair trial and is being bullied by the many people who oppose him, just as they bully him on the rialto. This will endear the audience to Shylock, and will make him seem more of a victim than a villain for large parts of this scene. This is highlighted particularly at the beginning of the scene when the audience believe that he will relent and not exact his revenge on Antonio, and when the Duke opens the case with a speech that is very patronising and cruel to Shylock. For example, the aforementioned quote We all expect a gentle answer Jew is the last line in his speech, which will make the audience feel great sorrow for Shylock, as he is seemingly shunned due to his religious beliefs. Shylock is offered compensation in place of the money he has lost, three thousand ducats and more is offered his way in order to save the life of Antonio. However, Shylock denies this opportunity. This shows that Shylock is not as materialistic and greedy as his reaction to the loss of his daughter had suggested. His reasoning highlights this: If every ducat in six thousand ducats were in six parts and every part a ducat I would not draw them; I would have my bond. This shows Shylock to have some morals, he will stand by his beliefs, however, this is contradicted as his beliefs involve the murdering of a largely innocent man. Shylock is offered the money repeatedly throughout the scene. However, he denies it upon every occasion it is thrust in his direction. Antonio and his defence offer the money to Shylock repeatedly in order to appeal to his pocket, and his mind, and ultimately forfeit the bond. However, Shylock will not falter. This creates an opinion in the audience of Shylock being a villain. This is because Shylock must ignore the pleading of the Christians each time they remonstrate with him. This means that Shylock will deny Antonio many times, therefore the audience begin to realise that he is serious about exacting his bond, and taking the life of another, thus rendering him a murderer, and a villain of the highest calibre.

Sunday, February 23, 2020

Family Life Education Assignment Example | Topics and Well Written Essays - 1000 words - 1

Family Life Education - Assignment Example As the essay stresses the definition of social support is subject to a lot of debate. The definition of social support varies, the concepts behind the definition similarly diverse. Among the most common definition of social support include: the activity that involves resource provision; a positive outcome implied; social integration; and outcomes that involve a recipient feeling cared for. The concept of social support is however widely applied in many cycles including health behaviour, caregiver burden, and compliance. Sociologists, psychologists, and nurses for example have used the concept in assessing social networks; evaluating social relations; and linking illness outcomes to family assessments respectively. This discussion declares that the global war on terrorism has impacted on many people’s lives, military personnel and their families especially according to Huebner, Mancini, Bowen, and Orthner. Deployment of military personnel to the battle field has an effect on the personnel, their marriages, and their children. Children for example end up experiencing depression, loneliness, and bruised self esteem even as their parents under deployment are stressed up in the wake of imminent harm. Facing such challenging situations without the support of other people is often very tasking, the reason people need to engage external support. The family support system needs to be augmented by the community’s support for better results when dealing with stressful issues. Engaging the community in capacity building and supporting the family is characterised by two main elements; collective competence and shared responsibility according to Huebner et al (nd, p 219). Military men and wome n for example get a lot of support when they form formal and informal networks. Although the resilient informal support network are often preferred by members of society, their formal counterparts play a great role in providing grounds for their (informal support systems) establishment and growth (Huebner et al, nd, p 220). Research has shown that having positive view of community capacity directly impacted positively on depression. In the Air Force, a study showed that suicide rates reduced when members of the AF community engaged in interagency activities (Huebner et al, nd, p220). Also, at the national level, community capacity has notably helped in the establishment of stable social capital and conducive business environments. Community Engaged Parent Education The role of parents in the community and society at large has been one issue that has drawn a lot of concern. This is especially the case with the rapid changes that are taking place in the world today. As such, the paren ting landscape has undergone significant transformation causing the need for similar albeit adequate response in parent education as noted by Doherty, Jacob, and Cutting (nd). In the United States, the need for engaging the community in parent education finds its roots in the establishment of organized parent education initiatives. With time, parenting education started focusing on making the world a better place.