The Giving Tree vs “The Very Old Man with Enormous Wings” free essay sample

The commonality between Gabriel Garcia Marquez’s â€Å"The Very Old Man with Enormous Wings† and Shel Silverstein’s The Giving Tree, is the exploitation of a grotesque character and the sacrifices they make for the sake of their relationships and situation. Each exploited character represents that gullible and somewhat easily exploitable part of us, that will go to great lengths to keep those we think show us love and acceptance, fulfilled and enticed. By using the grotesque, the reader is allowed to immerse themselves in the amplified personas of these fantastic characters, and their motivation to indulge the selfish, thoughtless, abuse of their resources and basic rights. William T. Free describes the grotesque in writing as â€Å"something playfully gay and carelessly fantastic, but also something ominous and sinister† (Free 216). The boy’s need for the tree and the town’s reaction to the angel gives us a peek into the duality of grotesque behavior. We see them being playfully gay in their genuine fascination at the old man’s otherworldly appearance, and ominous and sinister in their decision to keep him locked in a chicken coop on display for the horde of paying onlookers â€Å" they found the whole neighborhood in front of the chicken coop having fun with the angel, without the slightest reverence†¦Ã¢â‚¬  (Garcia Marquez 272) The tree is assigned the role of the loving mother figure, showering her boy with selfless, unbridled love; she sees him as belonging to her and her to him. True to her role she provides a happy, nurturing environment, in which she feeds his body with her apples and his mind when he is at play â€Å"He would climb her trunk and swing from her branches and eat apples† (Silverstein n. p. ). She provides shade and a place for him to rest, and as he grows a place for him to explore the world of courtship. As he ventures out into the world and his needs change, she becomes a wealth of resources, providing apples no longer just for eating, but for selling, while her body becomes wood for building his house and a  boat â€Å"And so the boy cut off her branches and carried them away to build his house† (Silverstein n. p. ). Eventually she is nothing but stump, and intimates as much to her boy, now an old man; only to find that she is still of use to her boy as a final place of rest â€Å"Well,† said the tree, straightening herself up as much as she could, â€Å"well an old stump is good for sitting and resting. Come, Boy, sit down. Sit down and rest† (Silverstein n. p.) The boy in return never exhibits any sign of gratitude, never a thank you or any inquiry as to the tree’s wellbeing. This is not to say that the boy does not love his tree â€Å"And the boy loved the tree very much† (Silverstein n. p. ), however, he has never had the burden of reciprocity levied upon him. As a little boy he gathers her leaves and her fruit while using her body for play, but his maturation is accompanied by needs no longer solely dependent upon the tree â€Å"I want a wife and I want children, and so I need a house. Can you give me a house? † (Silverstein n. p. ). As he ventures out to find his place in the world, his visits are fewer and farther apart; and when he does visit it is to strip her of some other resource. Eventually he returns to his tree, old and tired to claim the very last thing she has to offer, still for his own use. Gabriel Garcia Marquez’s old man entered the town in the body of a supernatural being, with less than supernatural characteristics, save for patience comparable to Job’s. When he is come upon by Pelayo, he is face down in the mud, â€Å"his huge buzzard wings, dirty and half-plucked† (Garcia Marquez 271) and in an extremely weakened state. His broken, pathetic, bald, almost toothless, great-grandfather appearance is interrupted only by his enormous wings, and his state of imprisonment made worse by his inability to verbally communicate with his captors. Spending most of his time confined to a chicken coop and a shed, the opportunity to explore his surroundings comes only after the coop’s collapse. This was achieved by dragging himself about the house and becoming an inescapable presence or kind of playful poltergeist to the members of the household â€Å"He seemed to be in so many places at the same time that they grew to think that he’d been duplicated, that he was reproducing himself all through the house†¦ (Garcia Marquez 275). Managing to make it through a winter of fevers, delirium while sleeping outdoors in a shed he regains his strength and sprouts a few new feathers to aid in his very clumsy departure. The town’s reaction to the old man runs the gamut of emotions and touches on the fickleness of human behavior. Here we have this creature, fantastic in appearance who is met with fear, awe, skepticism, doubt and hostility within his first twenty-four hours in town. He is first discovered by the town’s bailiff, who skitters right from fear, to consulting the town’s wise woman, then to keeping armed watch before locking him up with livestock. A possible harbinger of calm and prosperity or chaos and failure, depending on perspective, his coming may have brought an end to the deluge and the child’s affliction, while blessing Pelayo and Elisenda with significant financial gain â€Å"Pelayo and Elisenda were happy with fatigue, for in less than a week they had crammed their rooms with money† (Garcia Marquez 273). However the eventual distortion of Elisinda’s spine, and throng of pokers, mockers and prosecutors of an old man whose only sins were his appearance and mediocre magic, speaks of man’s inclination to rally against the weaker and different among us and the pitfalls of personal progress. Also highlighted is the ineptitude of the community’s leading authority on all things celestial when the priest’s papal correspondence, inspection and nattering brought nothing, because the old man failed to meet any of the church’s angel benchmarks â€Å"But the mail from Rome showed no sense of urgency. They spent their time finding out if the prisoner had a navel, if his dialect had any connection with Aramaic, how many times he could fit on the head of a pin, or whether he wasn’t just Norwegian with wings† (Garcia Marquez 274). Just as quickly as he attracted them, he lost his fickle following; to what may have been an even more fantastic creature – one who could speak. Respite from the daily demands of being the town’s grand freak, takes the form of a travelling carnival and sideshow horror of a woman smitten with a spider’s body on account of filial disobedience. This new grotesque body came with the advantage of a voice, thereby providing a window into the background of the being, and lending support to history presenting sideshow freaks to be willing participants, for personal gain or to challenge the notion of the beautiful or normative body. While the old man in contrast â€Å"was the only one who took no part in his own act† (Garcia Marquez 273), his fantastic form, is a reflection of man’s endeavor to make sense of himself and his universe, through romanticism and comparison to the mental construct of the ideal being. Following a period of undisturbed rest, the old man’s wounds heal, and early December brings him a fresh batch of large, stiff, scarecrow feathers and the ability to fly away and remove himself from his abusive situation; while the tree is trapped in her body, now stripped of all her offerings and left with nothing but her dying boy. By employing the use of the grotesque, the authors move their presentation of the perils of exploitative relationships and the mercurial state of the human mind from under the microscope and into the realm of a full-fledged parade; with a fantastic lineup of characters not bound by the shackles of reality, inviting us to get caught up in the flapping of wings and the â€Å"whirlwind of chicken dung and lunar dust and a gale of panic that did not seem to be of this world. † (Garcia Marquez 273). The grotesque serves to present a more palatable helping of the everyday insipid and macabre, by rendering the ominous and sinister, less so with the use of the playfully gay and carelessly fantastic as a counterbalance.

Native Speech. Lessons of belles-lettres Review Essay Example

Native Speech. Lessons of belles-lettres Review Paper Essay on Native Speech. Lessons of belles-lettres Once the question of the teacher of literature of the 19th century: How do you feel about the point of view on the 19th century Vail and Genis? I got an answer:. And who is this filfak I threw This, of course, , not a novelty. Hundred Acre in 1991, and recommended that the Ministry of Education of the RSFSR, which is more than strange, because the book is a good revolutionary. To such an extent that today in the era of glasnost and I want to write something it sounds new and fresh  «Mother tongue.. Lessons of belles-lettres - a marvelous reading, which is on a par with From Russia to Russia Lev Gumilyov. In the sense that the Lessons opens a wonderful, unfamiliar views of what is called the literature of the 19th century. This is not a textbook. Better. This is a book that makes re-read the entire curriculum. The book, which returns to the books. Read Lessons it is a pleasure, one principle is worth: We will write a custom essay sample on Native Speech. Lessons of belles-lettres Review specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Native Speech. Lessons of belles-lettres Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Native Speech. Lessons of belles-lettres Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer  «In the name of Karamzin sounds kind of affectation. No wonder Dostoevsky distorted the name to ridicule in Possessed by Turgenev. So it seems that not even funny.  » Meanwhile, it is not a collection of literary jokes a la Weller, but it is a work. In the sense that you will have something to show off to your friends and teachers before and Only here and you will be (important) prove why the greenhorns against the wishes of the author -. Ridiculed science. But Karamzin author of the first erotic scenes and away went Verbless love in Russian literature (the famous love as an act devoid of the verb Brodsky) And that the most flattering opinion of the works of Alexander Radishchev belongs to Catherine II:. rebel worse Pugacheva  ». » and the wing has created not a literary genre of fables and ethical system. What, finally, Griboyedov, left to posterity one of the most horrible scenes of Russian literature in Pushkin Journey to Erzerum »:  «Where are you? I asked them -. From Tehran -. What are you carrying -?. caveman It is worth to say about authors. Russian emigrants of the third wave, writers Peter Weill and Alexander Genis in the 19th century, what is called, the dog ate. They managed the almost impossible to present 19th century unconventional, look at Russian literature without these horrible school stereotypes It has turned out more than well If our students learn by Weil and Genis we are.. now it would be the most reading country in the world.

Essay Sample With Multiple Editors

Essay Sample With Multiple EditorsA Mla essay can be one of the most intimidating papers to submit for an English Literature degree. Many students know that it's not a small feat to ace this paper, but they aren't quite sure how to go about it. Hopefully this Mla essay sample with multiple editors will help you write an essay that is perfect for your requirements.You should always plan your essay from beginning to end, but with a Mla you need to plan in advance. Write a basic outline for the entire paper, but then be sure to have someone else to follow up with you after the assignment has been submitted. The next step is to prepare for questions from the editor, including brainstorming answers and how to best respond to them. Then get ready to take the exam.With an Mla essay, you're going to need to address three main questions. First, you'll have to check that you understand what you're writing. Second, you'll need to check to see whether you've written correctly, and finally, you'l l have to plan out your response and anticipate the questions on the exam will ask.First, you should think about how you plan to address the three main questions asked at the end of the Mla essay. If you plan to talk about yourself, you should talk about the part of your life that you want to write about, for example your childhood or your career. Remember that this is an exam, so your answers are your points to shoot for. Write about what you're most proud of, what you're glad you did, and what you wish you'd done differently, so that you can tell the editor why you're the person you are today.You should also consider what sort of Mla you'll write, since the different editors will ask you to do some very different things. For example, you might write an Mla essay about a piece of literature, which would make the editor very interested in your background in literature, and what you're like as a writer.You should also look at the options for what you'd expect to hear about in an Mla essay, since many editors will use questions to test your skill. You may be asked about your literary training, how you use the English language, and how you address style.Finally, you should plan out an essay based on the topics the Mla editor asks you to address. Don't give too much away, but have a general idea about what you'd like to cover, so that you can jot down ideas in your Mla essay and keep the answers within the first 10 pages of the essay.

The Chicken Coop Case Essay Example

The Chicken Coop Case Essay Example The Chicken Coop Case Essay The Chicken Coop Case Essay The chicken coop case Facts Since 1974 the Company had registered Increase In 10% In sales per year, Industry has only being growing 5% per year, during the past 5 years. 1994 1) $775,000 average sales per restaurant 58. MM mark In sales 2) 7. 7 billion chicken SIRS segment ? which KEF dominates with 5,000 restaurants and greater that 50% market share. Each week MM consumers make purchase at KEF. 25% of market shares, small and independent stores 1995 sales were down in 20 (6%) of the 76 stores those 20 where the 32% of total sales Owner went to visit the 20 stores Marketing UP and Quality UP recommends three pronged approach 1) Conduct focus group 2) Brand image monitoring survey pilot for a continuous brand tracking program 3) Customers will be paid to visit the coop and the competition and they will not know which Company paid them Turnaround really expensive marketing strategies Executive meeting In order to define: Investment In market research, how much and which programs to fund. 985 24 restaurants By paying more attention to customer the Coop will gain market share. Success of restaurants was quality of food, quality of service, cleanness quality of entire addling experience and good value (price, quality and abundance) for low prices. Focused providing family environment targeting consumers between the ages of 18 to 45 years. Starting price $3. 99 and whole meal for eight people for $24. 95. The CEO of The Chicken Coop, must decide if the company invests in market research, how much money to spend, and which programs to fund Take decision based on What is the size of the loss? What have been attributed to this loss? The loss is 6% of sales in 20 stores that means that $775,000 is the average sale per store, so the 6% ass per store is $46,500, times the 20 stores the total size of the loss will be $930,000. The loss can be attributed by many factors, for example, more competition In the area where the 20 stores less performing are, changes In demographics, people that used to go to those stores moved from that neighborhood and different people came, changes in consumer habits, healthy programs and obesity start concerning parents and people living nearby, the stores werent delivering the value that characterizes The Coop such as quality of food, quality of service, cleanness quality of entire dining experience and good value (price, quality and abundance) for low prices, or the economy was suffering a recession and the first impact are the 20 stores. Analyze the dynamics between Michael and Wallace. Are they looking into the same direction? They are looking into the same direction because they have the same objective that is increase sales and reduce the gap of sales in revenue in the less performing stores, so what they are proposing different ways to close the gap and fulfill the obje ctive. Wallace Is relatively new to the Company but he has great experience In the Industry and he knows what he Is doing and how to be successful In the business, the difference with Michael Is that she Is a loyal employee that shares the core values and beliefs of The Coop well defined. So one is proposing Innovation Ana evolution Ana ten toner one Is proposing quality Ana customer satisfaction, which in this case both ideas and methods are needed. Evaluate the initiatives proposed by Bushmaster Wallace and Michaels Bushmaster is proposing customer feedback cards, this approach is the cheapest one and the information they will get is limited in terms of innovation and attracting new consumers. Wallace is proposing Brand image monitoring survey, this is the most expensive proposition in long term for the company, here is where the Coop will have to start making focus groups and they are worried about not being well equipped for that in their facilities and the outcomes of the results may not be as trustfully as any other method. Michaels is proposing Taste tests, this approach can help to identify where the stores are failing in terms of quality and also it can identify what customers really would like in terms of food and taste but the information may be not accurate customer samples cant be loyal customers because they dont fully represent the whole market.

What Is Point of View First, Second, and Third Person

What Is Point of View First, Second, and Third Person SAT / ACT Prep Online Guides and Tips One of the best ways to prepare for the AP Literature exam is to learn about different literary devices and how you can use them to analyze everything from poetry to novels. Not only will this help you on the multiple choice section of the test, it’s critical for earning perfect scores on your essays, too! Today, we’re going to take a closer look at one specific device: point of view. First, we’ll give you the point of view definition, then we’ll explain how the work’s narrator affects its point of view. Then we’ll explain the four types of point of view and provide examples and analysis for each one. By the end of this article, you’ll be a point of view expert! So let’s get started. Point of View: Definition and Meaning In literature and poetry, point of view is defined as the perspective from which a story is told. Put another way, a story’s point of view is a way to articulate and analyze the position of the narrator in relation to the story they’re telling. Is the narrator a participant in the story they’re telling? Or are they describing events that happened to someone else? Both of these perspectives are different types of point of view (which we’ll talk about in a lot more depth later in this article, so hang tight)! So how do you figure out the point of view in a text? In order to find the point of view of a story, you first have to identify whose perspective the story is told from. That’s because the perspective of the story determines a piece of literature’s point of view! That means that in order to establish a text’s point of view, you have to figure out the narrator of the text first. What Is a Narrator? Okay...so obviously figuring out the narrator of a piece of literature is important. But what’s a narrator, exactly? No matter what type of text you’re reading- whether it’s a newspaper article, a textbook, a poem, or a best-selling novel- someone is communicating the story to the reader. In literary terms, we call that someone the text’s narrator. In other words, the narrator of a piece of literature is the person telling the story. And you know what’s even more helpful than that? Almost all written texts- whether they’re fiction, non-fiction, poetry, or otherwise- have a narrator. And since a narrator and point of view go hand in hand, that means that almost all texts have a point of view, too! Finding the Narrator So how do you figure out the narrator of a text? Sometimes the narrator of a text is pretty easy to determine. For example, for a newspaper article, the narrator of the story is obviously the reporter who’s written the piece to report the facts. They’re the person who followed the story’s trail, and now they’re sharing the story with you! Another good example of an â€Å"easy to find† comes from Herman Melville’s Moby Dick. The very first sentence of the book reads, â€Å"Call me Ishmael.† Because that’s a line in the text rather than a piece of dialogue that uses quotation marks, you know it’s the narrator speaking to the audience. In other words, the narrator of Moby Dick identifies himself and tells you his name in the very first line of the book! But figuring out the narrator of the text isn’t always that easy. For example, the Harry Potter books by J.K Rowling don’t have an easily identifiable narrator. Neither do some classic works, like The Giver by Lois Lowry or Pride and Prejudice by Jane Austen. What do you do in those situations? Well, just hang tight: we’ll walk you through how point of view can help you figure out the narrator in these tricky situations! Narrator vs. Point of View: What’s the Difference? Before we start really digging into point of view, it’s worth pausing a minute to talk about the differences between point of view and narration. Because narration and point of view are closely linked, it’s tempting to think of them as interchangeable terms. But the narrator of a text and the point of view of a text are two different things. The narrator is who is telling the story. In contrast, a text’s point of view is the perspective the story is being told from. If you think of the narrator as a person, their point of view is the angle they’re taking on the story. Think of it this way: in literature, point of view and narrators go together like...well, like thunder and lightning. You can’t have one without the other, but they’re definitely not the same thing. The 4 Types of Point of View Okay, let’s look more closely at the four different types of point of view found in literature. In the following sections, we’ll explain each type of point of view, give you tips for figuring out if something is written in that perspective, and then walk you through a real-life example of that point of view in literature. In first person point of view, you seethe story through the narrator's eyes First Person Point of View In first person point of view, the story is told from the narrator’s perspective. This allows the narrator to give readers their first-hand experience, including what they saw, felt, thought, heard, said, and did. Think of it kind of like The Blair Witch Project: in first person point of view, it’s like the narrator is wearing a GoPro camera strapped to their forehead. The reader sees exactly what the narrator sees and gets their singular perspective on the events that unfold. In other words, a first person point of view makes the narrator the eyewitness to the plot of the story. Using a first person point of view allows an author to dive much more deeply into the narrator’s character, since the reader gets to hear the narrator’s inner thoughts and experience the narrator’s emotions. Additionally, it makes the narrator the main character, or protagonist, of the story. If something is written in first person, it’s a pretty big indicator that the narrator is going to play a pivotal role in communicating the text’s messages or themes. But there are also some pretty major limitations to a first person point of view, too. Just like real life, readers won’t be able to get the thoughts and feelings of other characters in the novel. Also, the narrator’s observations might be skewed depending on how they feel about other people. Because of that, first person narrators can be unreliable, meaning that their perspective skews the accuracy of the story they’re telling. That means it's up to the reader to determine whether they believe the narrator is being truthful or not. Tips for Identifying First Person Point of View In many ways, a first person point of view is one of the easiest to pick out because it uses first person pronouns, like I, we, me, my, our, and us. If the book is written using these terms, then you can pretty much guarantee that the author is using first person! Keep in mind that not all first person narrators are the book’s main character, like Moby Dick’s Ishmael or The Hunger Games’ Katniss Everdeen. That’s because first person narrators aren’t always the main characters in the work. Take, for instance, the Sherlock Holmes stories, where Dr. John Watson is the narrator. While he’s an important character in the story, he’s definitely not the main characterSherlock Holmes is! Additionally, sometimes first person narrators are anonymous, like third person narrators often are. (Don’t worry: we’ll get into third person narration in just a minute.) That’s why it’s best to look for pronouns when trying to figure out a work’s point of view! If you’re trying to find the narrator’s name, it might not always be there. A good example of this is Shakespeare’s â€Å"Sonnet 130,† where the narrator is describing the woman he loves. The narrator of the poem is never named, but because he uses pronouns like â€Å"I† and â€Å"my,† you know it’s written in first person. Example of First Person Point of View: Shakespeare’s â€Å"Sonnet 29† Many of Shakespeare’s sonnets are written in first person, and â€Å"Sonnet 29† is no different. Let’s look at the full poem and see why it qualifies as being written in first person: When, in disgrace with fortune and men’s eyes, I all alone beweep my outcast state,And trouble deaf heaven with my bootless cries,And look upon myself and curse my fate,Wishing me like to one more rich in hope,Featured like him, like him with friends possessed,Desiring this man’s art and that man’s scope,With what I most enjoy contented least;Yet in these thoughts myself almost despising,Haply I think on thee, and then my state,(Like to the lark at break of day arisingFrom sullen earth) sings hymns at heaven’s gate; For thy sweet love remembered such wealth brings That then I scorn to change my state with kings. Remember, we can tell that something’s written in first person if it uses first person pronouns outside of dialogue. Since there’s no dialogue in this poem at all, we can look at the entire text to find evidence of the first person point of view. Notice that the narrator (or speaker, as the narrator is often referred to in poetry) uses words like â€Å"I,† â€Å"me,† and â€Å"myself† throughout the poem. This is a clear indicator that this poem is written in a first person point of view! Actually, â€Å"Sonnet 29† is a good example of something written in first person where the narrator isn’t named. But we can still learn quite a bit about them through the poem itself! For example, we learn that he’s an outcast (line 2) who is unhappy with his current status (line 4). Despite his all-encompassing misery (line 9), when he thinks upon his love, his spirits are lifted (lines 10, 11, and 12). As we start piecing the evidence together, we begin to get a clearer picture of who the narrator of the poem is, and the power love has to lift us out of even the bleakest circumstance. Other Works Written in First Person Point of View First person is a really popular writing technique, so it’s no surprise that there are tons of books written in this point of view! Here are a few other poems, books, and book series that you might be familiar with that use first person point of view: Shakespeare’s â€Å"Sonnet 18† Suzanne Collins’ The Hunger Games book series Harper Lee’s To Kill a Mockingbird Arthur Conan Doyle’s Sherlock Holmes stories Second person point of view uses pronouns like "you" and "your" to tell the story. Second Person Point of View In second person point of view, the story is told from the perspective of another character. Sometimes this character is another person in the book, but it can also be the reader themselves! More importantly, when a writer uses second person, they want readers to connect emotionally with the topic they’re writing about! Here’s an example of what we mean. Say you’re reading an article about the amount of plastic pollution in the ocean. If the writer wants to pull on your heartstrings and make you take the issue they’re writing about seriously, they might use a second person point of view and write something like this: â€Å"Imagine you’re on the vacation of your dreams sailing across the Caribbean. You can’t wait to get out into the open water, where everything will be calm, peaceful, and gorgeous. You take a nap as the captain sets sail, and when you return to the deck, you’re shocked by what you see. Instead of a vast expanse of sparkling blue water, you see a huge, bobbing mound of trash. Fast food containers, plastic bags, and discarded water bottles bob along the surface as far as you can see. It looks like you’re sailing through a garbage dump, and you feel equal parts disgust and despair.† Using the second person point of view in a passage puts the reader into the story- in this case, it’s a story about pollution. Second person makes the reader feel like they’re making every move...from the joy of going on vacation, to the shock of seeing so much plastic in the water, to the â€Å"disgust and despair† of realizing what pollution is doing to the sea. Suddenly, the reader becomes more invested in what the author has to say about the problem, since the second person point of view makes them feel like they’ve experienced it first-hand! While it’s very rare to find a text that’s written completely in second person, many authors will switch to this perspective when they want readers to feel connected to the topic they’re writing about. Tips for Identifying Second Person Point of View Like first person point of view, it’s pretty easy to spot the second person point of view...when you know what you’re looking for, that is. When something is written in second person, the writer uses second person pronouns (like â€Å"you,† â€Å"yourself,† and â€Å"your†) in the text that falls outside of dialogue, too. Like we just mentioned, it’s pretty rare to find a whole text that’s written this way. More than likely, you’ll find a few paragraphs written in second person, rather than an entire work. The one exception to this rule is the classic Choose Your Own Adventure book! You probably remember these from when you were a kid: each book had a topic, and at the bottom of each page, you were given decisions to make. Depending on what you chose, you’d flip to a different page in the book, and your decisions would affect the story! Example of Second Person Point of View: Bright Lights, Big City by Jay McInerny Jay McInerny uses second person to open his book, Bright Lights, Big City, which tells the story of life in the fast lane in 1980s New York. Let’s look at the first paragraph to see the second person point of view in action: You are not the kind of guy who would be at a place like this at this time of the morning. How did you get here? It was your friend Tad Allagash. Your brain is rushing with Brazilian marching powder. You are talking to a girl with a shaved head. You want to meet the kind of girl who isn't going to be here. You want to read the kind of fiction this isn't. You give the girl some powder. She still doesn't want you. Things were fine once. Then you got married. Notice that all the pronouns in this section are either â€Å"you† or â€Å"your,† which is a clear indicator that this is written in second person! It’s also a good example of how using second person can immediately pull someone into a narrative by making the reader and the main character one in the same. In this case, McInerny is creating a whole backstory for your character- from giving you friends like Tad to hinting at your dysfunctional marriage. Other Works Written in Second Person Point of View Second person is probably the rarest of the points of view. Usually writers will use second person in sections of their work to emphasize a point, rather than throughout their entire work. Here are some pieces of literature that use a second person point of view (at least in part): Langston Hughes’ â€Å"Hard Luck† Italo Calvino’s If On A Winter’s Night A Traveller Claudia Rankine’s Citizen: An American Lyric Emma Campbell Webster’s Lost in Austen: Create Your Own Jane Austen Adventure In third person omniscient point of view, the narrator is god-like and tells the reader everything! Third Person Omniscient Point of View The third type of perspective you can find in literature is a third person omniscient point of view. In third person omniscient, the narrator uses third person pronouns like â€Å"he,† â€Å"she,† â€Å"they,† and â€Å"their† to refer to all the characters in the work. As a result, the narrator removes themselves as a critical character in the work (unlike the narrators that use a first or second person point of view). Additionally, because this is a third person omniscient perspective, the narrator is given god-like qualities over the story. (Merriam-Webster defines an â€Å"omniscient† person as someone who has â€Å"universal or complete knowledge†!) That means the narrator can dive into any character’s head and share their thoughts and emotions with the reader. Additionally, the narrator can move around in time and place to show the reader events that the characters themselves may not be aware of! That includes jumping around from location to location, or even moving backward and forward in time. Using a third person omniscient narrator lets an author show the reader the whole gameboard, so to speak. There’s no real limit to what a narrator can show the readers! Consequently, it allows the author to build a robust world full of well-developed characters, since the author no longer has to contend with the single-character limits of a first or second person point of view. It’s also a particularly useful technique in works with large casts of characters, since the narrator can introduce the reader to each character more quickly- and with more detail- than other points of view would allow! Example of Third Person Omniscient Point of View: Middlemarch by George Eliot The narrator of George Eliot’s Victorian novel, Middlemarch, is an excellent example of how a third person omniscient narrator can give readers a comprehensive view of a text. Let’s take a look at the book’s opening paragraph to see this type of point of view in action: Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress. Her hand and wrist were so finely formed that she could wear sleeves not less bare of style than those in which the Blessed Virgin appeared to Italian painters; and her profile as well as her stature and bearing seemed to gain the more dignity from her plain garments, which by the side of provincial fashion gave her the impressiveness of a fine quotation from the Bible,- or from one of our elder poets,- in a paragraph of to-day's newspaper. She was usually spoken of as being remarkably clever, but with the addition that her sister Celia had more common-sense. Nevertheless, Celia wore scarcely more trimmings; and it was only to close observers that her dress differed from her sister's, and had a shade of coquetry in its arrangements; for Miss Brooke's plain dressing was due to mixed conditions, in most of which her sister shared. The pride of being ladies had something to do with it: the Brooke con nections, though not exactly aristocratic, were unquestionably "good:" if you inquired backward for a generation or two, you would not find any yard-measuring or parcel-tying forefathers- anything lower than an admiral or a clergyman; and there was even an ancestor discernible as a Puritan gentleman who served under Cromwell, but afterwards conformed, and managed to come out of all political troubles as the proprietor of a respectable family estate. Young women of such birth, living in a quiet country-house, and attending a village church hardly larger than a parlor, naturally regarded frippery as the ambition of a huckster's daughter. Remember: omniscient narrators are god-like in that they can give you more information than a single character could provide from their limited perspective. In this case, Eliot’s omniscient narrator gives us tons of information about Miss Brooke. We know that she’s beautiful but not financially well off ( the narrator calls this living in â€Å"mixed conditions†), which is reflected in her â€Å"plain garments.† Regardless, Miss Brooke is also â€Å"remarkably clever.† Beyond that, the narrator tells us about Miss Brooke’s family by looking into her past- which is easy given that the narrator is omniscient! We learn that she and her sister, Celia, aren’t aristocratic, but they come from a good family that includes admirals, clergymen, and politicians. This helps Eliot develop characters and situations quickly, which is important in a book with a large cast of characters like Middlemarch. Other Works Written in Third Person Omniscient Point of View Third person omniscient is a common point of view, especially in longer texts. Here are some examples of other works that feature an omniscient point of view: Louisa May Alcott’s Little Women Oscar Wilde’s The Importance of Being Earnest Nathaniel Hawthorne’s The Scarlet Letter Philip K. Dick’s Do Androids Dream of Electric Sheep? In third person limited point of view, it's as if the narrator is standing behind one character's shoulder. Third Person Limited Point of View The last point of view an author can use is the third person limited point of view. Just like the omniscient perspective we talked about earlier, texts written in a third person limited point of view use third person pronouns to discuss characters outside of dialogue. The difference between the two is in how much information the narrator shares with the reader.With a third person limited perspective, the narrator is limited to giving you the perspective of a single character. The narrator can peek inside the character’s head to share their thoughts, feelings, and experiences, similar to a first person point of view. Unlike first person, however, a narrator using a third person limited point of view can also zoom out to give readers a better understanding of how the character they’re following fits into the text’s plot, setting, or situation!Here’s an easy way of understanding the difference between a first person, third person omniscient, and a third perso n limited point of view. Think of the narrator as a person holding a camera. You, as the reader, get to see everything the camera sees. With first person point of view, it’s like the character has had the camera implanted in their brain. You can see whatever the character looks at and nothing more.With a third person limited point of view, on the other hand, it’s like the narrator is standing behind one character and filming over his shoulder. Not only can you get a sense of what the character is seeing, the narrator can also step back a little bit to show readers what’s going on around the character...as long as the character stays in the frame. Third person omniscient is the most comprehensive view. It’s as if the narrator is filming from the rafters of the building. They can zoom out to show everyone for a global perspective, or they can zoom in on different events to give you a better idea of what’s happening in specific situations.So why would a writer use a third person limited point of view? Well, it’s great for situations where knowing every single detail of a story would spoil the plot. Mystery novels, for instance, often use third person limited point of view. It allows the narrator to give you the detective’s thoughts and feelings while not spoiling the whodunit! It also allows the writer to focus on developing a single character while giving readers a better view of what’s going on around that character. Example of Third Person Limited Point of View: Harry Potter and the Sorcerer’s Stone by J.K. RowlingLike we mentioned earlier, all texts have a point of view...which means that the Harry Potter stories do, too! Let’s look at a passage from Harry Potter and the Sorcerer’s Stone to get a better idea of how a third person limited point of view works. In this scene, Harry and his friends, Hermione and Ron, are looking through the library to learn more about the sorcerer’s stone: Hermione took out a list of subjects and titles she had decided to search while Ron strode off down a row of books and started pulling them off the shelves at random. Harry wandered over to the Restricted Section. He had been wondering for a while if Flamel wasn’t somewhere in there. Unfortunately, you needed a specially signed note from one of the teachers to look in any of the restricted books, and he knew he’d never get one. These were the books containing powerful Dark Magic never taught at Hogwarts, and only read by older students studying advanced Defense Against the Dark Arts. It’s clear that this passage is written in third person: the narrator uses pronouns like â€Å"he,† â€Å"she,† and â€Å"them,† instead of first person pronouns like â€Å"I† or second person pronouns like â€Å"you.† But how do we know it’s third person limited? Well, we get Harry’s thoughts and feelings- like his curiosity about Nicholas Flamel- but no one else’s. We don’t know what Hermione and Ron are reading, or if they’re excited, nervous, or scared.Rowling wrote all seven Harry Potter books using a third person limited point of view that made Harry the focal point. The narrator can tell us what Harry’s thinking, feeling, and seeing- as well as zoom out to tell us more about the precarious situations he finds himself in. But because the narrator is tied to Harry, they can’t give us a glimpse into other characters’ minds, nor can it show readers what’s happening in other par ts of Hogwarts (where Harry isn’t). That helps readers get to know Harry, even as it helps Rowling maintain the mystery around the sorcerer’s stone (or the chamber of secrets, or the half-blood prince, etc.). Other Works Written in Third Person Limited Point of ViewThe third person limited point of view is a popular perspective for writers to use, so there’s no shortage of examples! Here are a few works you might be familiar with that feature a third person limited point of view: Samuel Taylor Coleridge’s â€Å"Christabel† Eudora Welty’s The Golden Apples Jane Austen’s Pride and Prejudice Madeleine L’Engle’s A Wrinkle In Time What’s Next? If you’re studying for the AP Literature exam, you’ll need to know about more literary devices than point of view. Why not check out our other comprehensive guides, like this one on personification? The more familiar you are with literary terms, what they mean, and how to use them, the better your test score will be! Did you know that there are two English AP tests? One is the literature exam, which focuses on literary analysis and comprehension. The second test is the language exam, which tests your ability to understand argument and write persuasively. Click here to learn more about the AP Language exam, how it differs from the literature exam, and what you need to do to knock it out of the park! After you learn the fundamentals, the best way to prepare for an AP exam is to take practice tests. Check out this article on how to find the best AP practice exams, and learn how to use them to boost your score!

Turkey and the European Union Essay Example | Topics and Well Written Essays - 2500 words

Turkey and the European Union - Essay Example It will also be considering the significant impacts Turkey's accession would have on the Union, how such an enlargement could be managed, and how this would affect the future of the European Union. Since signing the accession agreement in 1963, Turkey's declared objective is to become a full member of the European Union, and her first application was made in 1987. The reasons that she has not been accepted are based on issues concerning human rights, the Kurds, the Armenian massacre, her long-standing conflict with Cyprus and, perhaps, doubts that exist over whether she is truly European. "Turkey confirms its traditional goal which is to align itself with [a] Europe that is politically plural, economically liberal, rich in cultural diversity and strategically necessary to the defence and security of the West" (FindArticles.com, Online Article, 2007). While it would seem that the EU considers Turkey to be primarily an Asian country, Turkey evidently considers herself to be essentially European, and has been making efforts to 'Europeanise' herself for almost one hundred years.The westernisation of Turkey began during the 1920s, under the leadership of Kemal Attaturk, who introduced a formal and fundamental policy based upon the ultimate goal of becoming part of the European Union. The reforms were extensive. The Latin alphabet was introduced, along with the European calendar, the Christian day of rest was adopted, and women's rights were formally recognised in 1922 (which was far more progressive than most other European countries - France, for example, didn't suffragette their female citizens until 1945!). The civil code was adopted from Switzerland, the penal code from Italy and, most importantly, Turkey brought in measures that assured the removal of Islamic political power, thus becoming a secular state like other European cou ntries - with its only difference being that its members are predominantly Muslim rather than Christian.Following World War II, Turkey was accepted into the West because of her strategic importance. In 1949 she became a member of the Council of Europe, in 1952 an important member of NATO, and she has been an associate member of the European Union since 1963. It is also clear that since the end of the Cold War her strategic importance has increased, rather than decreased - which is clearly demonstrated by her crucial role in the Gulf War - and this strategic position is extremely useful to Europe. Turkey could choose to align herself with the Middle East, or the ex-Soviet Republics of Transcaucasia and Asia, however, due to the political

Managing People in the Modern Workplace Research Paper

Managing People in the Modern Workplace - Research Paper Example The modern workplace has changed significantly as most employees are now increasingly involved in decision-making in addition to other tasks and they work as a team. Therefore, today, people work as a team in any organization and the employers expect the employees to work as a team in managing the workplace. People normally want to do good work in any organization and therefore proper management makes them feel that they matter and are actively involved in making a difference in the organization. Employees normally prefer working in places that magnify or increase their strengths and not focus on their weaknesses. In order to achieve this, they need some level of autonomy and structure, and therefore the organization must always be honest, coherent and open in managing the human resource at its disposal. However, achieving this may at times be tricky or difficult due to the competing needs of the organization as compared to that of individual employees. This is because managers are f aced with numerous challenges at the workplace and must continually work extra hard to forge ahead in pushing the objectives of companies. As managers strive to make the organizations authentic in one way or the other, they should realize the potential of their human resource in achieving their core values. Managing People Creating the best workplace is important in making the organization work at its best as the employees are allowed to realize their optimum potential (Goffee and Jones 2013, p.3). This involves nurturing the differences between each employee and the value of each employee is appreciated. Thus, all information available should be utilized towards improving the welfare of the company while at the same time making the workplace more rewarding (Goffee and Jones 2013, p. 4). Research has shown that employees who are highly engaged by their employers are likely to exceed the workplace expectations by 50% than those workers that are less engaged. This same result also sho ws that firms that actively engaged their employees in the workplace had a higher percentage of customer satisfaction by 89% and a chance of retaining their employees by 54% as compared to other firms (Goffee and Jones 2013, p.4). Similarly, research in other nations has revealed that employees who have the free will to express their real selves had higher levels of commitment to their organizations' performance at the individual level and the propensity to help fellow employees in their assigned tasks. An important strategy of managing people in the modern workplace is to let the employees be themselves in whatever task they are doing or undertaking (Atif 2009, p.60). This encompasses having thoughtfulness of the differences in perspectives, important assumptions, and habits of the mind.